Objects and Intertexts in Toni Morrison’s "Beloved"

Maureen E. Ruprecht Fadem completed her Ph.D. in English at The Graduate Center of CUNY. She is Associate Professor of English at CUNY/Kingsborough and Affiliate Professor of Arts and Letters in Drew University’s Caspersen School of Graduate Studies. Maureen’s research is on Anglophone writing of the late twentieth and twenty-first centuries with specializations in Irish, Asian, and African American literatures. Her research fields include Irish studies, Partition studies, and Postcolonial Studies; within those areas she looks at questions of reparations, of literary poetics, and of race, gender, and class. Maureen’s first book, The Literature of Northern Ireland: Spectral Borderlands appeared from Palgrave in 2015. In 2019, a second book-length study titled Silence and Articulacy in the Poetry of Medbh McGuckian was brought out by Rowman & Littlefield. In late 2020, Routledge, Inc. will bring out Maureen’s co-edited collection, in which she has two chapters, The Economics of Empire: Genealogies of Capital and the Colonial Encounter. Recent articles include "A Consciousness of Streets: Reflections on the Origin and Spread of Partition" (Synthesis, 2016) and "Drawing the Border, Queering the Nation: Nation Trouble in Breakfast on Pluto and The Crying Game" (Gender Forum, 2016). In 2021, Maureen will commence new research for a three-volume comparative study of modes of realism in the contemporary literatures of partition and for a second edited collection called Imperial Debt, Postcolonial Reparations. She lives in Brooklyn.

"Fadem's surprising and singular book works closely with Morrison's Beloved to show the reader how the call for justice is made. That call does not arrive as a manifesto or a platform, but through a searing set of intertextual moments that make clear how hard and how necessary the appeal to truth is by those who struggle still with the reverberating history of enslavement. The novel makes the case for reparations through an emphatically literary means and form, developing a poetics worthy of racial justice. Drawing on prior genres of tragedy, Morrison is shown to develop a new lineage and a new vision, one in which the last vestiges of slavery vanish from the earth. This book shows us the power of literary form as it struggles with intertextual allies, the power of poetics to lay claim to a future of truer reparations." Judith Butler, UC Berkeley"This book represents a timely and cutting edge addition to the field of Morrison scholarship. Adopting a critical standpoint rarely employed in interpreting Beloved--a focus on the object versus the image, the conventional way of approaching Morrison’s texts--it offers a groundbreaking understanding of the 1987 novel as a postmodern tragedy. Looking at Beloved from an interdisciplinary and intersectional perspective, Fadem's analysis contributes to the political progressive struggle underway in the contemporary U.S. regarding social justice and reparations." Mar Gallego, University of Huelva

• Acknowledgments xiiiForeword: Too Many, Too Quiet, Too Long;or, “Anything is better than the silence” xvii1 Remembering Is Not Forgetting; or, History Is in theTexts of It [The Form of Beloved] 12 Tragedy and Its Props; or, History Is in the Thingsof It [The Craft of Beloved] 333 Literary Memory and the Amnesiac Nation; or,“The rest is weather” [Object Lesson, I] 734 Bodies [sic] Matter; or, “Certainly no clamor for akiss” [Object Lesson, II] 1105 The Powers of Intertextuality, the Specter ofReparations; or, Three Tragedies and a Critique ofthe American Slave State [The Object of Beloved] 151Afterword: First Things, Lost Things; or,The Purloined Name and the Necessity of(Postcolonial) Failure 188Coda: Impossible Things; or, “I’ve had enough ofshitty news” 202Bibliography 231Index 243