Linda Wagner-Martinâs study of African American writer Toni Morrisonâs work, beginning with \u003cI\u003eThe Bluest Eye\u003c/I\u003e in 1970 and continuing through her 2012 novel \u003cI\u003eHome,\u003c/I\u003e describes Morrison as an inherently original novelist who was shaped throughout her career by her role within families. Morrison speaks of herself, compellingly and frequently, as daughter, sister, wife, mother, mentor, and friend. The energy from playing these roles in her life helped to lead to her thoroughly distinctive fiction. The book charts Morrisonâs changing vision as well. Morrisonâs deeper and deeper involvement in the history of African Americans within the United States leads to her study of the urban in \u003cI\u003eJazz,\u003c/I\u003e of the all-black Western towns in \u003cI\u003eParadise,\u003c/I\u003e of the upper-middle class in \u003cI\u003eLove,\u003c/I\u003e as well as her poignant study of the returning Korean War veteran in \u003cI\u003eHome.\u003c/I\u003e Morrisonâs 2008 \u003cI\u003eA Mercy,\u003c/I\u003e set in the seventeenth century, reprises much of the power of the prize-winning \u003cI\u003eBeloved\u003c/I\u003e and returns readers to the quintessential theme of parent-child relationships. In Morrisonâs fictional world, drawing from the human and spiritual forces in both Africa and the United States provides some hope of a truly satisfying existence.
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