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Narration and Intertextuality in Toni Morrison's Jazz - The Criterion ...

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http://www.the-criterion.com <strong>The</strong> <strong>Criterion</strong>: An International Journal <strong>in</strong> English ISSN 0976-8165<br />

respective central traumas. Joe <strong>and</strong> Violet together are able to move together to the f<strong>in</strong>al phase of<br />

heal<strong>in</strong>g, shar<strong>in</strong>g.<br />

Although the expression of <strong>and</strong> confrontation with their respective central traumas was an<br />

essential portion of their journey to heal<strong>in</strong>g, both Joe <strong>and</strong> Violet needed to work out the problems<br />

<strong>in</strong> their own relationship to provide for each other what they sought <strong>in</strong> others; relational<br />

<strong>in</strong>timacy. S<strong>in</strong>ce Joe killed the one who helped him emote some of the pa<strong>in</strong> he felt concern<strong>in</strong>g his<br />

<strong>in</strong>side noth<strong>in</strong>g <strong>and</strong> Alice Manfred moves back home, Joe <strong>and</strong> Violet need to move to the place<br />

where they could support each other. Communal aid comes <strong>in</strong> the form of Felice (a name that<br />

means ‘happy’), Dorcas’ best friend. She provides the view of Dorcas that both Violet <strong>and</strong> Joe<br />

need to move forward, <strong>and</strong> she serves as a mediator between them. She <strong>in</strong>troduces the topics of<br />

conversation <strong>and</strong> asks the questions which illicit the type of responses they both need to hear<br />

from each other. And it is also with Felice that Joe <strong>and</strong> Violet share their gifts. Violet shares her<br />

clarity: “She doesn’t lie Mrs. Trace. Noth<strong>in</strong>g she says is a lie the way it is with most older<br />

people” (<strong>Jazz</strong> 205). And Joe his ‘light’: she sees <strong>in</strong> him the someth<strong>in</strong>g that makes “[you] feel<br />

deep—as though the th<strong>in</strong>gs [you] feel <strong>and</strong> th<strong>in</strong>k are important <strong>and</strong> different <strong>and</strong> […] <strong>in</strong>terest<strong>in</strong>g”<br />

(206).<br />

Even though at the novel’s end they cleave to each other, they cl<strong>in</strong>g, <strong>in</strong> part, as a means<br />

of cop<strong>in</strong>g with the ongo<strong>in</strong>g grief of their respective traumas. Joe cont<strong>in</strong>ues to grieve over his<br />

murder of Dorcas <strong>and</strong> his maternal rejection: “Ly<strong>in</strong>g next to [Violet] […] he sees through the<br />

glass darkness tak<strong>in</strong>g the shape of a shoulder with a th<strong>in</strong> l<strong>in</strong>e of blood. Slowly, slowly it forms<br />

itself <strong>in</strong>to a bird with a blade of red on the w<strong>in</strong>g” (<strong>Jazz</strong> 225). Violet also cont<strong>in</strong>ues to struggle<br />

with the pa<strong>in</strong> of dual losses; her mother’s suicide <strong>and</strong> her father’s ab<strong>and</strong>onment: “Violet rests her<br />

h<strong>and</strong> on [Joe’s] chest as though it were the sunlit rim of a well <strong>and</strong> down there somebody is<br />

gather<strong>in</strong>g gifts […] to distribute to them all” (225).<br />

Vol. II. Issue. I 8 April 2011

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