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Paradise (Oprah's Book Club) Paperback – April 1, 1999
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Oprah Book Club® Selection, January 1998: Toni Morrison's Paradise takes place in the tiny farming community of Ruby, Oklahoma, which its residents proudly proclaim "the one all-black town worth the pain." Settled by nine African American clans during the 1940s, the town represents a small miracle of self-reliance and community spirit. Readers might be forgiven, in fact, for assuming that Morrison's title refers to Ruby itself, which even during the 1970s retains an atmosphere of neighborliness and small-town virtue. Yet Paradises are not so easily gained. As we soon discover, Ruby is fissured by ancestral feuds and financial squabbles, not to mention the political ferment of the era, which has managed to pierce the town's pious isolation. In the view of its leading citizens, these troubles call for a scapegoat. And one readily exists: the Convent, an abandoned mansion not far from town--or, more precisely, the four women who occupy it, and whose unattached and unconventional status makes them the perfect targets for patriarchal ire. ("Before those heifers came to town," the men complain, "this was a peaceable kingdom.") One July morning, then, an armed posse sets out from Ruby for a round of ethical cleansing.
Paradise actually begins with the arrival of these vigilantes, only to launch into an intricate series of flashbacks and interlaced stories. The cast is large--indeed, it seems as though we must have met all 360 members of Ruby's populace--and Morrison knows how to imprint even the minor players on our brains. Even more amazing, though, are the full-length portraits she draws of the four Convent dwellers and their executioners: rich, rounded, and almost painful in their intimacy. This richness--of language and, ultimately, of human understanding--combats the aura of saintliness that can occasionally mar Morrison's fiction. It also makes for a spectacular piece of storytelling, in which such biblical concepts as redemption and divine love are no postmodern playthings but matters of life and (in the very first sentence, alas) death. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
It's the 1970s, and four young women living in a convent near an all-black town have been viciously attacked. This is Morrison's first novel since winning the Nobel prize, and by the time she's done, she has taken on Reconstruction, the Civil Rights Movement, the counterculture, and more. The 400,000-copy first printing is no surprise.
Copyright 1997 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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A few caveats: The weakest part of the book is the "Patricia" chapter, wherein the entire town's history is laid out rather austerely. The payoff of that chapter would have been so much stronger if I had a deeper connection to that genealogy, rather than having felt like I just read chapter 7 out of the book of Nehemiah. The magical realism that characterized much of the horror of "Beloved" is barely present in this book, but it is present, and it may turn some readers off. And lastly, Toni Morrison isn't known for tying up her novels with a neat little bow at the end. "Paradise" is no exception.
The foreword is incredibly enlightening (and in my opinion, essential). It sheds light on themes present in the novel as well as our present day.
My takeaway: If dissent threatens your sense of Paradise, then you are almost certainly creating an equal and opposite Hell for someone else.