The Source of Self-Regard

by Toni Morrison

  She is convinced that when language dies, out of carelessness, disuse, and absence of esteem, indifference or killed by fiat, not only she herself, but all users and makers are accountable for its demise. In her country children have bitten their tongues off and use bullets instead to iterate the void of speechlessness, of disabled and disabling language, of language adults have abandoned altogether as a device for grappling with meaning, providing guidance, or expressing love. But she knows tongue-suicide is not only the choice of children. It is common among the infantile heads of state and power merchants whose evacuated language leaves them with no access to what is left of their human instincts for they speak only to those who obey, or in order to force obedience.

  The systematic looting of language can be recognized by the tendency of its users to forgo its nuanced, complex, midwifery properties for menace and subjugation. Oppressive language does more than represent violence, it is violence; does more than represent the limits of knowledge, it limits knowledge. Whether it is obscuring state language or the faux-language of mindless media; whether it is the proud but calcified language of the academy or the commodity-driven language of science; whether it is the malign language of law without ethics, or language designed for the estrangement of minorities, hiding its racist plunder in its literary cheek—it must be rejected, altered, and exposed. It is the language that drinks blood, laps vulnerabilities, tucks its fascist boots under crinolines of respectability and patriotism as it moves relentlessly toward the bottom line and the bottomed-out mind. Sexist language, racist language, theistic language—all are typical of the policing languages of mastery and cannot, do not permit new knowledge or encourage the mutual exchange of ideas.

  The old woman is keenly aware that no intellectual mercenary or insatiable dictator, no paid-for politician or demagogue, no counterfeit journalist would be persuaded by her thoughts. There is and will be rousing language to keep citizens armed and arming; slaughtered and slaughtering in the malls, courthouses, post offices, playgrounds, bedrooms, and boulevards; stirring, memorializing language to mask the pity and waste of needless death. There will be more diplomatic language to countenance rape, torture, assassination. There is and will be more seductive, mutant language designed to throttle women, to pack their throats like pâté-producing geese with their own unsayable, transgressive words; there will be more of the language of surveillance disguised as research; of politics and history calculated to render the suffering of millions mute; language glamorized to thrill the dissatisfied and bereft into assaulting their neighbors; arrogant pseudo-empirical language crafted to lock creative people into cages of inferiority and hopelessness.

  Underneath the eloquence, the glamour, the scholarly associations, however stirring or seductive, the heart of such language is languishing, or perhaps not beating at all—if the bird is already dead.

  She has thought about what could have been the intellectual history of any discipline if it had not insisted upon, or been forced into, the waste of time and life that rationalizations for and representations of dominance required—lethal discourses of exclusion blocking access to cognition for both the excluder and the excluded.

  The conventional wisdom of the Tower of Babel story is that the collapse was a misfortune. That it was the distraction, or the weight of many languages that precipitated the tower’s failed architecture. That one monolithic language would have expedited the building and heaven would have been reached. Whose heaven, she wonders? And what kind? Perhaps the achievement of paradise was premature, a little hasty if no one could take the time to understand other languages, other views, other narratives. Had they, the heaven they imagined might have been found at their feet. Complicated, demanding, yes, but a view of heaven as life; not heaven as postlife.

  She would not want to leave her young visitors with the impression that language should be forced to stay alive merely to be. The vitality of language lies in its ability to limn the actual, imagined, and possible lives of its speakers, readers, writers. Although its poise is sometimes in displacing experience it is not a substitute for it. It arcs toward the place where meaning may lie. When a president of the United States thought about the graveyard his country had become and said, “The world will little note, nor long remember what we say here, but it can never forget what they did here.” His simple words are exhilarating in their life-sustaining properties because they refused to encapsulate the reality of six hundred thousand dead men in a cataclysmic race war. Refusing to monumentalize, disdaining the “final word,” the precise “summing up,” acknowledging their “poor power to add or detract,” his words signal deference to the uncapturability of the life it mourns. It is the deference that moves her, that recognition that language can never live up to life once and for all. Nor should it. Language can never “pin down” slavery, genocide, war. Nor should it yearn for the arrogance to be able to do so. Its force, its felicity is in its reach toward the ineffable.

  Be it grand or slender, burrowing, blasting, or refusing to sanctify; whether it laughs out loud or is a cry without an alphabet, the choice word, the chosen silence, unmolested language surges toward knowledge, not its destruction. But who does not know of literature banned because it is interrogative; discredited because it is critical; erased because alternate? And how many are outraged by the thought of a self-ravaged tongue?

  Word work is sublime, she thinks, because it is generative; it makes meaning that secures our difference, our human difference—the way in which we are like no other life.

  We die. That may be the meaning of life. But we do language. That may be the measure of our lives.

  “Once upon a time…,” visitors ask an old woman a question. Who are they, these children? What did they make of that encounter? What did they hear in those final words: “It is in your hands”? A sentence that gestures toward possibility or one that drops a latch?

  Perhaps what the children heard was “It’s not my problem. I am old, female, black, blind. What wisdom I have now is in knowing I cannot help you. The future of language is yours.”

  They stand there. Suppose nothing was in their hands? Suppose the visit was only a ruse, a trick to get to be spoken to, taken seriously as they have not been before? A chance to interrupt, to violate the adult world, its miasma of discourse about them, for them, but never to them? Urgent questions are at stake, including the one they have asked: “Is the bird I am holding living or dead?” Perhaps the question meant: “Could someone tell us what is life? What is death?” No trick at all; no silliness. A straightforward question worthy of the attention of a wise one. An old one. And if the old and wise who have lived life and faced death cannot describe either, who can? But she does not; she keeps her secret; her good opinion of herself; her gnomic pronouncements; her art without commitment. She keeps her distance, enforces it and retreats into the singularity of isolation, in sophisticated, privileged space.

  Nothing, no word follows her declaration of transfer. That silence is deep, deeper than the meaning available in the words she has spoken. It shivers, this silence, and the children, annoyed, fill it with language invented on the spot.

  “Is there no speech,” they ask her, “no words you can give us that help us break through your dossier of failures? Through the education you have just given us that is no education at all because we are paying close attention to what you have done as well as to what you have said? To the barrier you have erected between generosity and wisdom?

  “We have no bird in our hands, living or dead. We have only you and our important question. Is the nothing in our hands something you could not bear to contemplate, to even guess? Don’t you remember being young, when language was magic without meaning? When what you could say could not mean? When the invisible was what imagination strove to see? When questions and demands for answers burned so brightly you trembled with fury at not knowing?

  “Do we have to begin consciousness with a ba
ttle heroines and heroes like you have already fought and lost leaving us with nothing in our hands except what you have imagined is there? Your answer is artful, but its artiness embarrasses us and ought to embarrass you. Your answer is indecent in its self-congratulation. A made-for-television script that makes no sense if there is nothing in our hands.

  “Why didn’t you reach out, touch us with your soft fingers, delay the sound bite, the lesson, until you knew who we were? Did you so despise our trick, our modus operandi you could not see that we were baffled about how to get your attention? We are young. Unripe. We have heard all our short lives that we have to be responsible. What could that possibly mean in the catastrophe this world has become, where, as a poet said, ‘nothing needs to be exposed since it is already barefaced.’ Our inheritance is an affront. You want us to have your old, blank eyes and see only cruelty and mediocrity. Do you think we are stupid enough to perjure ourselves again and again with the fiction of nationhood? How dare you talk to us of duty when we stand waist deep in the toxin of your past?

  “You trivialize us and trivialize the bird that is not in our hands. Is there no context for our lives? No song, no literature, no poem full of vitamins, no history connected to experience that you can pass along to help us start strong? You are an adult. The old one, the wise one. Stop thinking about saving your face. Think of our lives and tell us your particularized world. Make up a story. Narrative is radical, creating us at the very moment it is being created. We will not blame you if your reach exceeds your grasp, if love so ignites your words they go down in flames and nothing is left but their scald. Or if, with the reticence of a surgeon’s hands, your words suture only the places where blood might flow. We know you can never do it properly—once and for all. Passion is never enough; neither is skill. But try. For our sake and yours forget your name in the street; tell us what the world has been to you in the dark places and in the light. Don’t tell us what to believe, what to fear. Show us belief’s wide skirt and the stitch that unravels fear’s caul. You, old woman, blessed with blindness, can speak the language that tells us what only language can: how to see without pictures. Language alone protects us from the scariness of things with no names. Language alone is meditation.

  “Tell us what it is to be a woman so that we may know what it is to be a man. What moves at the margin. What it is to have no home in this place. To be set adrift from the one you knew. What it is to live at the edge of towns that cannot bear your company.

  “Tell us about ships turned away from shorelines at Easter, placenta in a field. Tell us about a wagonload of slaves, how they sang so softly their breath was indistinguishable from the falling snow. How they knew from the hunch of the nearest shoulder that the next stop would be their last. How, with hands prayered in their sex, they thought of heat, then suns. Lifting their faces, as though it was there for the taking. Turning as though there for the taking. They stop at an inn. The driver and his mate go in with the lamp leaving them humming in the dark. The horse’s void steams into the snow beneath its hooves and its hiss and melt is the envy of the freezing slaves.

  “The inn door opens: a girl and a boy step away from its light. They climb into the wagon bed. The boy will have a gun in three years, but now he carries a lamp and a jug of warm cider. They pass it from mouth to mouth. The girl offers bread, pieces of meat, and something more: a glance into the eyes of the one she serves. One helping for each man, two for each woman. And a look. They look back. The next stop will be their last. But not this one. This one is warmed.”

  It’s quiet again when the children finish speaking, until the woman breaks into the silence.

  “Finally,” she says. “I trust you now. I trust you with the bird that is not in your hands because you have truly caught it. Look. How lovely it is, this thing we have done—together.”

  Cinderella’s Stepsisters

  LET ME BEGIN by taking you back a little. Back before the days at college. To nursery school, probably, to a once-upon-a-time when you first heard, or read, or, I suspect, even saw “Cinderella.” Because it is Cinderella that I want to talk about; because it is Cinderella who causes me a feeling of urgency. What is unsettling about that fairy tale is that it is essentially the story of a household—a world, if you please—of women gathered together and held together in order to abuse another woman. There is, of course, a rather vague absent father and a nick-of time prince with a foot fetish. But neither has much personality. And there are the surrogate “mothers,” of course (god- and step-), who contribute both to Cinderella’s grief and to her release and happiness. But it is the stepsisters who interest me. How crippling it must have been for those young girls to grow up with a mother, to watch and imitate that mother, enslaving another girl.

  I am curious about their fortunes after the story ends. For contrary to recent adaptations, the stepsisters were not ugly, clumsy, stupid girls with outsize feet. The Grimm collection describes them as “beautiful and fair in appearance.” When we are introduced to them they are beautiful, elegant women of status, and clearly women of power. Having watched and participated in the violent domination of another woman, will they be any less cruel when it comes their turn to enslave other children, or even when they are required to take care of their own mother?

  It is not a wholly medieval problem. It is quite a contemporary one: feminine power when directed at other women has historically been wielded in what has been described as a “masculine” manner. Soon you will be in a position to do the very same thing. Whatever your background (rich or poor) whatever the history of education in your family (five generations or one) you have taken advantage of what has been available to you at Barnard and you will therefore have both the economic and social status of the stepsisters and you will have their power.

  I want not to ask you but to tell you not to participate in the oppression of your sisters. Mothers who abuse their children are women, and another woman, not an agency, has to be willing to stay their hands. Mothers who set fire to school buses are women, and another woman, not an agency, has to tell them to stay their hands. Women who stop the promotion of other women in careers are women, and another woman must come to the victims’ aid. Social and welfare workers who humiliate their clients may be women, and other women colleagues have to deflect their anger.

  I am alarmed by the violence that women do to one another: professional violence, competitive violence, emotional violence. I am alarmed by the willingness of women to enslave other women. I am alarmed by a growing absence of decency on the killing floor of professional women’s worlds. You are the women who will take your place in the world where you can decide who shall flourish and who shall wither; you will make distinctions between the deserving poor and the undeserving poor; where you can yourself determine which life is expendable and which is indispensable. Since you will have the power to do it, you may also be persuaded that you have the right to do it. As educated women the distinction between the two is first-order business.

  I am suggesting that we pay as much attention to our nurturing sensibilities as to our ambition. You are moving in the direction of freedom, and the function of freedom is to free somebody else. You are moving toward self-fulfillment, and the consequences of that fulfillment should be to discover that there is something just as important as you are and that just-as-important thing may be Cinderella—or your stepsister.

  In your rainbow journey toward the realization of personal goals, don’t make choices based only on your security and your safety. Nothing is safe. That is not to say that anything ever was, or that anything worth achieving ever should be. Things of value seldom are. It is not safe to have a child. It is not safe to challenge the status quo. It is not safe to choose work that has not been done before. Or to do old work in a new way. There will always be someone there to stop you.

  But in pursuing your highest ambitions, don’t let your personal safety diminish the safety of your stepsister. In
wielding the power that is deservedly yours, don’t permit it to enslave your stepsisters. Let your might and your power emanate from that place in you that is nurturing and caring.

  Women’s rights is not only an abstraction, a cause; it is also a personal affair. It is not only about “us”; it is also about me and you. Just the two of us.