Abstract

This article examines the critique of communal politics of life in Paradise focusing upon the two tropes through which Morrison dramatizes the frictions of such politics. On the one hand, she re-invokes the Exodus-trope of African American national politics for her critique of Ruby's racist and patriarchal "covenant of life." On the other hand, she puts forward an Anti-Exodus trope through which, in her sections on the Convent women's practice of everyday life, Patricia Best's use of countermemory, and Piedade's songs, she explores some of the possibilities and risks of a cross-racial, women-centered, and transnational politics of life.

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Additional Information

ISSN
1080-658X
Print ISSN
0026-7724
Pages
pp. 321-349
Launched on MUSE
2006-07-20
Open Access
No
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