Sula by Toni Morrison Analysis

The community where Sula is set, originally called "the bottom of heaven" because it was located on a hill overlooking the white town.

A character in Sula, Shadrack is a veteran of World War I who suffers from shell shock. He later becomes a hermit figure in The Bottom, a source of mystery and confusion for the townspeople.

The central character of the novel, Sula is a complex and enigmatic woman who challenges the community's norms and traditions. Her actions disrupt the status quo and raise questions about the nature of good and evil.

The author's exploration of the experiences and realities of black women in a segregated society. The novel explores themes of friendship, love, race, and gender.

The author's assertion that art and social consciousness can co-exist. She believes that artistic expression can be informed by social concerns without compromising its aesthetic value.

The author's reflection on the challenges faced by black women in their search for freedom and self-expression. She explores the limited choices they have both within and outside their own communities.

The author's exploration of the impact of societal expectations and the complexities of human relationships, particularly friendships between women. She suggests these friendships are often shaped by external influences and societal pressures.

The author's use of language, drawing inspiration from vernacular and folk expressions. This approach captures the authenticity of black culture and allows readers to experience the world of the novel through its unique linguistic tapestry.

A description of the event where Helene, Nel's mother, experiences racism while traveling by train and how it impacts Nel's perspective on race and relationships.

A way of life marked by prejudice and discrimination based on race, creating separate facilities and spaces for people of color.

Nel's feeling of shame and discomfort at her mother's dark skin, and how it makes her feel connected to the humiliation of being Black.

The death of Cecile Sabat, a loved one, which marks a significant turning point for Nel and her family.

A person who can use one leg but lost the other, often associated with mystery and rumors in the novel.

A situation where people experience a loss of their limbs, sometimes due to traumatic experiences or illness.

This refers to the 'fewer than nine' people who remember Eva Peace before she lost her leg. These individuals represent a shared history and a connection to events that have shaped the community.

Eva Peace is described as the 'head of the family', being the dominant figure who directs the lives of her children, friends, and even strangers.

The incident where Eva Peace may have removed her own leg, either for insurance money or to sell it to a hospital.

Eva Peace's

Nel and Sula avoid physical contact during the funeral, highlighting their emotional distance despite their shared grief for Chicken Little.

Eva's response to Hannah's question about love reveals a complex and ambiguous view of motherhood. She denies loving her children, but her actions and the way she talks about Plum suggest otherwise.

Eva's actions in killing Plum stemmed from her desire to protect him and to ensure his death was 'manly.' She wanted him to go out on his own terms, even if it meant causing his death.

The vivid description of the aftermath of Chicken Little's burial highlights the enduring impact of his life on Nel and Sula, despite his physical absence.

The peculiar and strange nature of the wind signifies a shift in the narrative, foreshadowing the arrival of a change in the natural order and leading to disruptions in the community.

The dream Hannah has about the wedding suggests upcoming events, such as Sula's arrival and the potential for change, while the canning season symbolizes a time of preservation, potential for growth, and a sense of community.

Sula's meddling and disruptive behavior in Hannah's household foreshadows her eventual influence on the lives of the community and the disruptions she will cause.

The washing of jars symbolizes a desire to purify, cleanse, and prepare for potential transformation, hinting at the coming disruption and a desire to maintain order.

Tar Baby, a recluse, seeks a controlled death, but not complete solitude, while the community views him with indifference and contempt.

Hannah, a woman brimming with sexuality and a need for physical affection, finds fulfillment in fleeting encounters, rejecting deeper emotional commitment.

Eva, a woman of strong opinions about relationships, criticizes wives who lack attention to their husbands, highlighting her belief in the importance of men in a woman's life.

Eva's son, Plum, despite his affection and care from his mother, exhibits a troubled demeanor upon returning home from war, mirroring the quiet despair of Tar Baby.

Sula witnesses Hannah's casual approach to sex, learning that it can be both pleasurable and commonplace, challenging the societal notions surrounding intimacy.

The Deweys, a diverse group of children, are assimilated into a singular identity within the school system, losing their individual uniqueness.

The characters' lives in Medallion are intertwined, each individual's choices and behaviors shaping the community's overall dynamics.

Hannah's constant stream of lovers, often married men, creates a strained relationship with the women in the community, revealing a societal disapproval.

Sula's return to Medallion is marked by a swarm of robins, which are often associated with good luck, rebirth, and new beginnings. The people react with a strange mix of acceptance and unease, reflecting a recognition of forces beyond their control.

Eva, a character marked by both love and resentment, is portrayed as being fiercely independent and resistant to change. She welcomes Sula back with a mixture of suspicion and hostility, highlighting their complex, volatile relationship.

The scene portrays the confrontation between Sula and Eva that reveals the depth of their complicated connection. Eva is shown to be embittered by life's disappointments, while Sula's brashness and audacity clash with Eva's vulnerability and bitterness.

Sula takes over Eva's care, assuming the role of her guardian. This action showcases Sula's fierce independence and willingness to take charge in difficult situations, even if it involves conflicting feelings and past wounds.

The presence of Sula in Medallion brings a rejuvenating energy and positive change to Nel's life, reminiscent of how she felt when she was with Sula as a child. Their friendship is portrayed as a powerful and transformative force.

Sula's direct and often impulsive behavior is highlighted when she makes decisions based on fear, leading to questionable actions. She admits to being afraid and taking drastic steps, revealing a more vulnerable aspect of her personality.

The scene portrays Sula as possessing a sense of self-assurance and boldness that stems from her confident personality and lack of fear of societal norms. Her independent outlook is evident in her actions and her conversations with Nel, emphasizing her distinct personality.

Sula's sexual encounters are often driven by a desire for misery and sorrow, reflecting a deeper emotional turmoil and a sense of emptiness.

Ajax, 38, has a history with Sula, dating back to their childhood when he called her "pig meat". This suggests a power dynamic and Sula feeling uncomfortable with the age gap.

Ajax finds comfort in the company of women and is drawn to their struggles, though he finds his mother, a conjure woman, the most fascinating person he knows. His love for his mother plays a role in his interest in Sula.

Sula's relationship with Ajax begins with him gifting her small objects after drinking milk together, which seems to be a pattern for him, and shows him as a charming but manipulative individual.

Sula's initial attraction to Ajax stems from his ability to engage with her intellectually and emotionally, unlike others. This connection deepens when he compliments her intelligence.

The depiction of their sexual encounter, with its powerful imagery of layers and colors, reflects a primal and almost animalistic connection, contrasting with Sula's initial desire for order and control.

Sula's desire for Ajax to "come" during their sexual encounter showcases her struggle with possessiveness and expectations in the relationship.

The mentioning of Tar Baby alludes to the dangers of entrapment and the consequences of acting recklessly, in this case, Ajax's car accident with the mayor's niece.