Cover image for God help the child
Title:
God help the child
Author:
Morrison, Toni, author.
Personal Author:
Edition:
[Large print ed.]
Publication Information:
New York : Random House Large Print, [2015]

©2015
Physical Description:
211 pages (large print) ; 24 cm
Summary:
Spare and unsparing, God Help the Child--the first novel by Toni Morrison to be set in our current moment--weaves a tale about the way the sufferings of childhood can shape, and misshape, the life of the adult. At the center: a young woman who calls herself Bride, whose stunning blue-black skin is only one element of her beauty, her boldness and confidence, her success in life, but which caused her light-skinned mother to deny her even the simplest forms of love. There is Booker, the man Bride loves, and loses to anger. Rain, the mysterious white child with whom she crosses paths. And finally, Bride's mother herself, Sweetness, who takes a lifetime to come to understand that "what you do to children matters. And they might never forget."
Language:
English
ISBN:
9780804194822
Format :
Book

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Frank E. Merriweather Library LARGE PRINT FICTION Adult Large Print Large Print
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Elma Library LARGE PRINT FICTION Adult Large Print - Floating collection Floating Collection - Large Print
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Summary

Summary

Spare and unsparing, God Help the Child --the first novel by Toni Morrison to be set in our current moment--weaves a tale about the way the sufferings of childhood can shape, and misshape, the life of the adult.

At the center: a young woman who calls herself Bride, whose stunning blue-black skin is only one element of her beauty, her boldness and confidence, her success in life, but which caused her light-skinned mother to deny her even the simplest forms of love. There is Booker, the man Bride loves, and loses to anger. Rain, the mysterious white child with whom she crosses paths. And finally, Bride's mother herself, Sweetness, who takes a lifetime to come to understand that "what you do to children matters. And they might never forget."

A fierce and provocative novel that adds a new dimension to the matchless oeuvre of Toni Morrison.


Author Notes

Toni Morrison was born in Lorain, Ohio on February 18, 1931. She received a B.A. in English from Howard University in 1953 and a master's degree in English from Cornell University in 1955 with her thesis on the theme of suicide in modern literature. She taught at several universities including Texas Southern University, Howard University, and Princeton University.

Her first novel, The Bluest Eye, was published in 1970. Her other works include Sula, Tar Baby, Jazz, Paradise, Love, A Mercy, Home, and God Help the Child. She has won several awards including the National Book Critics Circle Award for Song of Solomon in 1977, the Pulitzer Prize for Beloved in 1988, the Nobel Prize in Literature in 1993, the Presidential Medal of Freedom in 2012, the Edward MacDowell Medal for her outstanding contribution to American culture in 2016, and the PEN/Saul Bellow Award for Achievement in American Fiction in 2016. She also co-wrote children's books with her son, Slade Morrison, including The Big Box, The Book of Mean People, and Peeny Butter Fudge.

(Bowker Author Biography)


Reviews 3

Booklist Review

This novel is brief for Morrison brief for most any major novelist. There is a lot of foundational information for readers to quickly learn in the opening pages. Brevity for Morrison doesn't mean cutting out lots of plot development and character presentation. It means that the usual amount of that kind of elaboration is condensed in fewer pages than what would be expected. So there is no wading into the story and gathering at a measured pace all the important clues about people and events that the reader ordinarily has time to absorb and process. The theme can be gleaned from the title. This is a novel about how psychological damage in childhood influences the way an adult leads his or her life. Four voices, four characters the primary one being Bride, born so dark-skinned that her light-skinned mother was loathe to even touch her give solo articulation to their hurts when young and the consequent dented versions of their adult selves. Now, the strength of the novel and it does indeed gain compelling strength is that it becomes a swirl of deep emotions, sucking the reader in, which is good, because the point of the novel is to empathize as deeply as possible with what these characters experience. High-Demand Backstory: A new Morrison novel? Stock up. Enough said.--Hooper, Brad Copyright 2015 Booklist


Publisher's Weekly Review

In Morrison's short, emotionally-wrenching novel, her first since 2012's Home, a mother learns about the damage adults do to children and the choices children make as they grow to suppress, express, or overcome their shame. The story begins with the birth of Lula Ann Bridewell, a midnight black baby whose mother cannot stand to touch her. Grown-up Lula Ann transforms herself into Bride, a stiletto-wearing, Jaguar-driving California executive with dark skin proudly accentuated by stylish white clothing. Amid preparations for the launch of her signature cosmetics line, Bride offers a gift-bag of cash and cosmetics to parolee Sofia Huxley, the kindergarten teacher Bride accused of sexual abuse 15 years before, earning Bride maternal approval and Sofia her prison sentence. Sofia's angry rejection of Bride's present, coinciding with the departure of Bride's lover, inspires such self-doubt that Bride fears regressing back into Lula Ann. A car accident lands her in a culvert, where a little girl keeping dark secrets of her own comes to the rescue. Nobel laureate Morrison explores characteristic themes of people held captive by inner struggles; the delusion of racism; violence and redemption. Her literary craftsmanship endures with sparse language, precise imagery, and even humor. This haunting novel displays a profound understanding of American culture and an unwavering sense of justice and forgiveness. (Apr.) © Copyright PWxyz, LLC. All rights reserved.


Library Journal Review

In her latest book, Nobel laureate Morrison shows us how we hold onto our pain and let it define us, pulling back on her often liquidly lyric style to offer powerful portraits in lean prose. Sweetness, who is from a family whose members can pass for white, gives birth to the midnight-black Lula Ann and raises her at an ashamed and bitter distance, which she rationalizes will toughen her up. As a child, Lula Ann gains some favor from her mother by helping to put away a teacher named Sofia, who is accused of sexually abusing her charges. As an adult who renames herself Bride, Lula Ann becomes a successful, traffic-stoppingly beautiful career woman. But her life starts falling apart when she meets with a just-paroled Sofia. Then Booker, with whom she's been conducting a passionate affair, leaves without explanation. Serious-minded Booker cannot leave behind a terrible family tragedy, and as Bride pursues him for answers to his abandonment, they are both transformed in more ways than one. -VERDICT There are some moves here that may seem obvious, but the pieces all fit together seamlessly in a story about beating back the past, confronting the present, and understanding one's worth. [See Prepub Alert, 11/17/14.]-Barbara -Hoffert, Library Journal © Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Excerpts

Excerpts

Sweetness I t's not my fault. So you can't blame me. I didn't do it and have no idea how it happened. It didn't take more than an hour after they pulled her out from between my legs to realize something was wrong. Really wrong. She was so black she scared me. Midnight black, Sudanese black. I'm light-skinned, with good hair, what we call high yellow, and so is Lula Ann's father. Ain't nobody in my family anywhere near that color. Tar is the closest I can think of yet her hair don't go with the skin. It's different--straight but curly like those naked tribes in Australia. You might think she's a throwback, but throwback to what? You should've seen my grandmother; she passed for white and never said another word to any one of her children. Any letter she got from my mother or my aunts she sent right back, unopened. Finally they got the message of no message and let her be. Almost all mulatto types and quadroons did that back in the day--if they had the right kind of hair, that is. Can you imagine how many white folks have Negro blood running and hiding in their veins? Guess. Twenty percent, I heard. My own mother, Lula Mae, could have passed easy, but she chose not to. She told me the price she paid for that decision. When she and my father went to the courthouse to get married there were two Bibles and they had to put their hands on the one reserved for Negroes. The other one was for white people's hands. The Bible! Can you beat it? My mother was housekeeper for a rich white couple. They ate every meal she cooked and insisted she scrub their backs while they sat in the tub and God knows what other intimate things they made her do, but no touching of the same Bible. Some of you probably think it's a bad thing to group ourselves according to skin color--the lighter, the better--in social clubs, neighborhoods, churches, sororities, even colored schools. But how else can we hold on to a little dignity? How else can you avoid being spit on in a drugstore, shoving elbows at the bus stop, walking in the gutter to let whites have the whole sidewalk, charged a nickel at the grocer's for a paper bag that's free to white shoppers? Let alone all the name-calling. I heard about all of that and much, much more. But because of my mother's skin color, she wasn't stopped from trying on hats in the department stores or using their ladies' room. And my father could try on shoes in the front part of the shoestore, not in a back room. Neither one would let themselves drink from a "colored only" fountain even if they were dying of thirst. I hate to say it, but from the very beginning in the maternity ward the baby, Lula Ann, embarrassed me. Her birth skin was pale like all babies', even African ones, but it changed fast. I thought I was going crazy when she turned blue-black right before my eyes. I know I went crazy for a minute because once--just for a few seconds--I held a blanket over her face and pressed. But I couldn't do that, no matter how much I wished she hadn't been born with that terrible color. I even thought of giving her away to an orphanage someplace. And I was scared to be one of those mothers who put their babies on church steps. Recently I heard about a couple in Germany, white as snow, who had a dark-skinned baby nobody could explain. Twins, I believe--one white, one colored. But I don't know if it's true. All I know is that for me, nursing her was like having a pickaninny sucking my teat. I went to bottle-feeding soon as I got home. My husband, Louis, is a porter and when he got back off the rails he looked at me like I really was crazy and looked at her like she was from the planet Jupiter. He wasn't a cussing man so when he said, "Goddamn! What the hell is this?" I knew we were in trouble. That's what did it--what caused the fights between me and him. It broke our marriage to pieces. We had three good years together but when she was born he blamed me and treated Lula Ann like she was a stranger--more than that, an enemy. He never touched her. I never did convince him that I ain't never, ever fooled around with another man. He was dead sure I was lying. We argued and argued till I told him her blackness must be from his own family--not mine. That's when it got worse, so bad he just up and left and I had to look for another, cheaper place to live. I knew enough not to take her with me when I applied to landlords so I left her with a teenage cousin to babysit. I did the best I could and didn't take her outside much anyway because when I pushed her in the baby carriage, friends or strangers would lean down and peek in to say something nice and then give a start or jump back before frowning. That hurt. I could have been the babysitter if our skin colors were reversed. It was hard enough just being a colored woman--even a high-yellow one--trying to rent in a decent part of the city. Back in the nineties when Lula Ann was born, the law was against discriminating in who you could rent to, but not many landlords paid attention to it. They made up reasons to keep you out. But I got lucky with Mr. Leigh. I know he upped the rent seven dollars from what he advertised, and he has a fit if you a minute late with the money. I told her to call me "Sweetness" instead of "Mother" or "Mama." It was safer. Being that black and having what I think are too-thick lips calling me "Mama" would confuse people. Besides, she has funny-colored eyes, crow-black with a blue tint, something witchy about them too. So it was just us two for a long while and I don't have to tell you how hard it is being an abandoned wife. I guess Louis felt a little bit bad after leaving us like that because a few months later on he found out where I moved to and started sending me money once a month, though I never asked him to and didn't go to court to get it. His fifty-dollar money orders and my night job at the hospital got me and Lula Ann off welfare. Which was a good thing. I wish they would stop calling it welfare and go back to the word they used when my mother was a girl. Then it was called "Relief." Sounds much better, like it's just a short-term breather while you get yourself together. Besides, those welfare clerks are mean as spit. When finally I got work and didn't need them anymore, I was making more money than they ever did. I guess meanness filled out their skimpy paychecks, which is why they treated us like beggars. More so when they looked at Lula Ann and back at me--like I was cheating or something. Things got better but I still had to be careful. Very careful in how I raised her. I had to be strict, very strict. Lula Ann needed to learn how to behave, how to keep her head down and not to make trouble. I don't care how many times she changes her name. Her color is a cross she will always carry. But it's not my fault. It's not my fault. It's not my fault. It's not. Bride I 'm scared. Something bad is happening to me. I feel like I'm melting away. I can't explain it to you but I do know when it started. It began after he said, "You not the woman I want." "Neither am I." I still don't know why I said that. It just popped out of my mouth. But when he heard my sassy answer he shot me a hateful look before putting on his jeans. Then he grabbed his boots and T-shirt and when I heard the door slam I wondered for a split second if he was not just ending our silly argument, but ending us, our relationship. Couldn't be. Any minute I would hear the key turn, the front door click open and close. But I didn't hear anything the whole night. Nothing at all. What? I'm not exciting enough? Or pretty enough? I can't have thoughts of my own? Do things he doesn't approve of? By morning soon as I woke up I was furious. Glad he was gone because clearly he was just using me since I had money and a crotch. I was so angry, if you had seen me you would have thought I had spent those six months with him in a holding cell without arraignment or a lawyer, and suddenly the judge called the whole thing off--dismissed the case or refused to hear it at all. Anyway I refused to whine, wail or accuse. He said one thing; I agreed. Fuck him. Besides, our affair wasn't all that spectacular--not even the mildly dangerous sex I used to let myself enjoy. Well, anyway it was nothing like those double-page spreads in fashion magazines, you know, couples standing half naked in surf, looking so fierce and downright mean, their sexuality like lightning and the sky going dark to show off the shine of their skin. I love those ads. But our affair didn't even measure up to any old R-&-B song--some tune with a beat arranged to generate fever. It wasn't even the sugary lyrics of a thirties blues song: "Baby, baby, why you treat me so? I do anything you say, go anywhere you want me to go." Why I kept comparing us to magazine spreads and music I can't say, but it tickled me to settle on "I Wanna Dance with Somebody." It was raining the next day. Bullet taps on the windows followed by crystal lines of water. I avoided the temptation to glance through the panes at the sidewalk beneath my condo. Besides, I knew what was out there--nasty-looking palm trees lining the road, benches in that tacky little park, few if any pedestrians, a sliver of sea far beyond. I fought giving in to any wish that he was coming back. When a tiny ripple of missing him surfaced, I beat it back. Around noon I opened a bottle of Pinot Grigio and sank into the sofa, its suede and silk cushions as comfy as any arms. Almost. Because I have to admit he is one beautiful man, flawless even, except for a tiny scar on his upper lip and an ugly one on his shoulder--an orange-red blob with a tail. Otherwise, head to toe, he is one gorgeous man. I'm not so bad myself, so imagine how we looked as a couple. After a glass or two of the wine I was a little buzzed, and decided to call my friend Brooklyn, tell her all about it. How he hit me harder than a fist with six words: You not the woman I want. How they rattled me so I agreed with them. So stupid. But then I changed my mind about calling her. You know how it is. Nothing new. Just he walked out and I don't know why. Besides, too much was happening at the office for me to bother my best friend and colleague with gossip about another breakup. Especially now. I'm regional manager now and that's like being a captain so I have to maintain the right relationship with the crew. Our company, Sylvia, Inc., is a small cosmetics business, but it's beginning to blossom and make waves, finally, and shed its frumpy past. It used to be Sylph Corsets for Discriminating Women back in the forties, but changed its name and ownership to Sylvia Apparel, then to Sylvia, Inc., before going flat-out hip with six cool cosmetics lines, one of which is mine. I named it YOU, GIRL: Cosmetics for Your Personal Millennium. It's for girls and women of all complexions from ebony to lemonade to milk. And it's mine, all mine--the idea, the brand, the campaign. Wiggling my toes under the silk cushion I couldn't help smiling at the lipstick smile on my wineglass, thinking, "How about that, Lula Ann? Did you ever believe you would grow up to be this hot, or this successful?" Maybe  she  was the woman he wanted. But Lula Ann Bridewell is no longer available and she was never a woman. Lula Ann was a sixteen-year-old-me who dropped that dumb countryfied name as soon as I left high school. I was Ann Bride for two years until I interviewed for a sales job at Sylvia, Inc., and, on a hunch, shortened my name to Bride, with nothing anybody needs to say before or after that one memorable syllable. Customers and reps like it, but he ignored it. He called me "baby" most of the time. "Hey, baby"; "Come on, baby." And sometimes "You my girl," accent on the  my.  The only time he said "woman" was the day he split. The more white wine the more I thought good riddance. No more dallying with a mystery man with no visible means of support. An ex-felon if ever there was one, though he laughed when I teased him about how he spent his time when I was at the office: Idle? Roaming? Or meeting someone? He said his Saturday afternoon trips downtown were not reports to a probation officer or drug rehab counselor. Yet he never told me what they were. I told him every single thing about myself; he confided nothing, so I just made stuff up with TV plots: he was an informant with a new identity, a disbarred lawyer. Whatever. I didn't really care. Actually the timing of his leaving was perfect for me. With him gone out of my life and out of my apartment I could concentrate on the launch of YOU, GIRL and, equally important, keep a promise I'd made to myself long before I met him--we fought about it the night he said "You not the woman. . . ." According to prisoninfo.org/paroleboard/calendar, it was time. I'd been planning this trip for a year, choosing carefully what a parolee would need: I saved up five thousand dollars in cash over the years, and bought a three-thousand-dollar Continental Airlines gift certificate. I put a promotional box of YOU, GIRL into a brand-new Louis Vuitton shopping bag, all of which could take her anywhere. Comfort her, anyway; help her forget and take the edge off bad luck, hopelessness and boredom. Well, maybe not boredom, no prison is a convent. He didn't understand why I was so set on going and the night when we quarreled about my promise, he ran off. I guess I threatened his ego by doing some Good Samaritan thing not directed at him. Selfish bastard. I paid the rent, not him, and the maid too. When we went to clubs and concerts we rode in my beautiful Jaguar or in cars I hired. I bought him beautiful shirts--although he never wore them--and did all the shopping. Besides, a promise is a promise, especially if it's to oneself. It was when I got dressed for the drive I noticed the first peculiar thing. Every bit of my pubic hair was gone. Not gone as in shaved or waxed, but gone as in erased, as in never having been there in the first place. It scared me, so I threaded through the hair on my head to see if it was shedding, but it was as thick and slippery as it had always been. Allergy? Skin disease, maybe? It worried me but there was no time to do more than be anxious and plan to see a dermatologist. I had to be on my way to make it on time. I suppose other people might like the scenery bordering this highway but it's so thick with lanes, exits, parallel roads, overpasses, cautionary signals and signs it's like being forced to read a newspaper while driving. Annoying. Along with amber alerts, silver and gold ones were springing up. I stayed in the right lane and slowed down because from past drives out this way I knew the Norristown exit was easy to miss and the prison had no sign of its existence in the world for a mile beyond the exit ramp. I guess they didn't want tourists to know that some of the reclaimed desert California is famous for holds evil women. Decagon Women's Correctional Center, right outside Norristown, owned by a private company, is worshipped by the locals for the work it provides: serving visitors, guards, clerical staff, cafeteria workers, health care folks and most of all construction laborers repairing the road and fences and adding wing after wing to house the increasing flood of violent, sinful women committing bloody female crimes. Lucky for the state, crime does pay. Excerpted from God Help the Child by Toni Morrison All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

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