Jazz
Toni Morrison's 1992 novel — Harlem, 1926; the murder of Dorcas by Joe Trace; the music as form
Tradition: African-American literature / Modernist novel
Morrison's 1992 Harlem-1926 novel — jazz as form, Joe Trace and Violet, the murdered Dorcas
Jazz (1992) is the second novel in Morrison's trilogy beginning with Beloved (1987) and concluding with Paradise (1997). Set in Harlem in 1926, the novel opens with the news that Joe Trace, a 50-year-old salesman, has shot dead his 18-year-old lover Dorcas; his wife Violet has attempted, at the funeral, to slash Dorcas's corpse. The novel works backward through the lives of Joe and Violet and the trauma of the rural-Southern past they have carried North. Structured by jazz aesthetics — improvisation, polyphony, syncopation.
Author
Editions cited
- Jazz (Alfred A. Knopf, 1992; Penguin, Vintage)
School Embodiments
Major novel of the Harlem Renaissance period and the Great Migration — jazz as Black-American art-form and as novelistic principle.
"Sth, I know that woman." (Jazz, opening sentence — the gossipy-jazz-narrative voice)
Black-feminist treatment of Violet Trace's breakdown and recovery as the novel's spine.
"Violet wanted a story; the woman she loved — her mother — had ended in suicide, and she wanted a story that would not end so." (Jazz)
Race, gender, class, migration inseparable in the Trace family's Harlem.
"Up here, in the City, in 1926, a Black couple from Virginia could pretend, for the first time, that the past was past." (Jazz)
Critical-theoretical concern with narrative authority, the gossipy-narrator's judgments, the politics of who tells the story.
"I was sure one would kill the other, sure I had it figured out. I was wrong. They held one another, instead — and went on." (Jazz, narrator)
1926-Harlem historicism; the Great Migration as ontological-historical condition.
"The City made me think I was rid of the South; the South came back inside the City with me." (Jazz)
High-modernist formal experiment — jazz aesthetics as novelistic principle.
"This is the kind of love that takes the form of the music — improvising, beginning again, ending without resolving." (Jazz)
Mythic-mystical register at the novel's close — the gossipy-jazz-narrator as proper subject.
"Now I know what makes me feel like a fool, makes me feel like crying — the music that says it all and says nothing." (Jazz, closing pages)
Internal Tensions
Jazz has been variously assessed — defenders see major modernist achievement, occasional critics find the gossipy-narrator device unstable.
I. Time
The 1926 narrative time and the Reconstruction-era Virginia past worked through.
Attributes
II. Space
Harlem and the rural-Virginia origins of the migrants.
Attributes
III. Matter
The embodied Black-migrant lives at the heart of the novel.
Attributes
IV. Observer
The gossipy-jazz-narrator as proper observer of Harlem-1926 life.
Attributes
V. Energy
The musical-erotic-political energies of 1926 Harlem.
Attributes
VI. Information
The narrative-musical content shaped by jazz aesthetics.
Attributes
Personas with the nearest attribute fingerprint
Historical figures whose own classification on the same six-dimensional grid lands closest to this work's. Computed by attribute-agreement on coordinates both address.
Computed school proximity
The work's attribute fingerprint scored against all schools using the same quiz scorer. Useful as a sanity check on the hand-curated embodiments above.
How Jazz resolves each dilemma
25 resolved positions across 4 dimensions, including 7 distinctive where the majority of schools go the other way · 32 unaligned.
Each dimension is sorted so minority positions come first. Mainstream positions are folded into an expandable list.
Time · 9 dilemmas · 3 distinctive
Persistence, the future, and the direction of becoming.
3 mainstream positions
Matter · 7 dilemmas, all mainstream
Observer · 37 dilemmas, all mainstream
Information · 4 dilemmas · 4 distinctive
Pattern, memory, and what is preserved or lost.