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Erin Wasurick
November 24, 2011
ENL 149 - reading response 3
Character with Imagination
The multiple characters and their respective tales make Toni Morrison's !,7,/80 a
complex text that requires various levels oI interpretation. Each character reveals more about the
themes oI the novel that pertain to more controversial topics such as discrimination and
judgment. Lindsay Christopher in "The Geographical Imagination in Toni Morrison's !,7,/80"
argues that the characters' relationship to space reIlects a Iailure oI "geographical imagination".
While this concept is already questionable, Christopher does little to make such a concept clear.
She insinuates that a lack oI "geographical imagination" is the inability to see land as more than
just the land. Christopher Iocuses on the characters Deacon Morgan and Consolata. The two
characters represent the authority Iigures oI their respected spaces. Deacon, though he shares
such authority with his twin Steward, is one oI the patriarchs oI the town oI Ruby. Consolata acts
as his counterpart and is the matriarch oI the Convent. Christopher claims that it is this lack oI
imagination that drives these characters' actions; because their perception oI the land is so Iixed
they cannot adapt they ultimately Iail. However, this Iailure is also vague similarly to
Christopher's idea oI "geographical imagination" and thusly makes her entire argument
disjointed and unclear. In addition, her simple analysis oI these main characters does not
succeed in presenting a convincing argument that supports her claims oI a Iailure oI geographical
imagination in the novel !,7,/80.
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Christopher seems to contradict herselI when she turns to Connie's character Ior textual
support Ior her theory regarding geographical imagination. In her thesis Christopher claims that
there is "a Iailure", but she then goes on to say "So when Connie, a master gardener, seemingly
understands the land outside the boundaries oI the Convent, she cannot help envision herselI and
her new lover in the original Garden oI Eden" (R. 133). Connie does have the ability to see the
land Ior more than what the natural eye sees. Connie interprets land in a way that helps her Iind
herselI. She does not limit herselI in her own space and rather her vision oI the Garden oI Eden
displays the reaches oI her imagination and how she relates herselI to a Iictitious place. She can
connect to places other than the Convent and thus does not Iail when it comes to geographical
imagination.
Christopher Iurthers her argument when she uses instances in the text involving Deacon
Morgan, Connie's lover and Ruby's patriarchal Iigure. She asserts "|The Morgan brothers'|
Iailure to imagine space, to think they are historically separate Irom other communities, both
black and not, the communities their children long to see, results in their insularity and violence
against the closest, most outrageous outsiders they know: the Convent women" (R. 132-133). By
grouping the brothers together, Christopher is not analyzing the characters in depth since they are
separate characters they too have separate ideals. Steward Morgan is the more violent oI the two
brothers with his killing oI Connie and his hardened expressions that are consistent throughout
the novel. Steward is convinced in his belieIs and he may be the one that dislikes outsiders and
believes in a "pure-blooded" town, but that does not mean that his brother has the same belieIs. It
is a crucial theme oI the novel to view twins as more than the single unit that they are initially
perceived to be. In a conversation between Deacon and Connie, she asks iI there are two oI him
and he responds with " 'No.' He closes his eyes. When he opens them he is looking away.
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'There's just one oI me' "(!,7,/80 232). His reaction to her question, his saddened hesitation,
gives the reader a better sense oI Deacon as a person separate Irom his brother. He is more
sympathetic and does not Iit the stereotypes people have already associated with his brother and
simultaneously him as well. Christopher is one oI those people. She groups him with Steward
and because they are twins she applies the common idea that they hate outsiders to both oI them
because Steward does. Christopher's simple analysis oI the twins is evident in that she misses
Deacon's character completely and thus her argument becomes less valid. Deacon's aIIair with
Connie, his attempt to stop his brother Irom shooting her, and his redemption at the end oI the
novel where he walks the town bareIooted, are all clear indicators that Deacon does have a sense
oI "geographical imagination" because he is able to see himselI in a space that is not occupied by
his brother. He sees potential and morality where Steward does not. Christopher's argument
would make more sense iI she applied her theory oI lack oI geographical imagination to Steward
Morgan alone.
Ironically, Christopher's argument displays her own lack oI imagination. She Iails to view
the twins separately and she Iails to see Connie's potential to look past her sanctuary in the
Convent. The novel portrays these characters to be the stronger people, at least in comparison to
the other characters. I Ieel that possession oI imagination is a crucial attribute needed to be
considered a strong person. Imagination allows people to see their inner strength. !,7,/80 has
multiple examples oI strong characters and thereIore their control oI imagination as well.