Toni Morrison’s Jazz makes use of an exceptionally fascinating and unique narration style, one that significantly influences how the text is read and is purposefully reminiscent of the titular musical genre of jazz music. While pinning down a succinct definition of jazz is nearly impossible, some of its most noteworthy characteristics are its connection to the Harlem Renaissance, use of creative improvisation, musical evolution, and solos amongst an ensemble (Schuller). Jazz, particularly in its narration, embodies all of these traits as differing perspectives add creative flair and change as the story progresses. Through the first half of the novel, the narrator point of view starts with an ambiguous first-person narrator that is knowledgeable about the plot’s events, but not personally implicated in them. This figure acts as the primary narrator. Additionally, Morrison also employs the use of a traditional omniscient third-party narrator as well as first-person perspectives from Violet and Joe (with the original first-person narrator inserting their commentary all the while).
The novel begins without preamble as the first person narrator tells the audience that they know Violet and Joe Trace personally, “Sth, I know that woman... Know her husband too,” (Morrison 1). While the narrator may not be personally or directly involved in this convoluted situation, they are interested in observing it and assert their expertise about everyone’s lives. It is easy to deduce that the narrator lives in relative proximity to the Traces, and they demonstrate their impressive observational skills by divulging intimate details about the characters: their physical descriptions, backgrounds, memories, habits, thought processes, etc., etc.
These aspects are typically presented in a third-person omniscient narrator manner, bouncing from one character to another through the chapters and giving each character an individual spotlight, like soloists performing at a jazz concert. Characters like Violet, Joe, Dorcas, and Alice receive special attention, such as, “Doing two heads in one place was lucky and Violet looked forward to the eleven o’clock appointment,” and “Privately, Alice admired them, the coats and the women who wore them,” (Morrison 18, 55). The stream of third-party narration will then be interrupted by the first person narrator suddenly inserting their personal thoughts, “I call them cracks because that is what they were,” and “I don’t know how she did it-balance herself with two different hand gestures (Morrison 22, 59). Later on in the novel, the characters also begin to use first-person and present their side of the story using personal pronouns. Jazz music evolves throughout time, and as pieces unfold, new and surprising nuances begin to develop. Violet shares her inner thoughts using “I” while Joe has a section where he monologues with dialogue using the first person (Morrison 95,121). The almost random transitions into these alternate forms of narration mimic the sudden improvised solo parts often found in jazz music.
The original nameless first-person narrator is not omniscient, and there are occasions where the narrator presents their descriptions with qualifiers like “I believe...” and “If I remember right…”(Morrison 71-72). They even ask questions, further demonstrating their lack of universal knowledge (Morrison 101). In other instances, though, the narrator delivers their opinions so bluntly and with such an air of finality to them that the reader has difficulty distinguishing objective reality from perceptions clouded with bias. They blur the line by including both factual and relative information in the same breath, “She is awfully skinny, Violet; fifty, but still good looking,” (Morrison 4). Violet’s age is indisputable, but the remarks about her weight and attractiveness could be debatable.
They also do not seem to be particularly sympathetic to any of the characters and rather appear to be reasonably neutral about all that is going on, presenting themselves as a reliable, if not wholly objective, voice of reason. If anything, they are equally critical about all parties involved. Violet is described as, “mean enough and good looking enough to punish Joe…” and as well as crazy and raggedy (Morrison 4, 117). The narrator views Joe as an infantilized man, “...even though he wears button-up-the-front sweaters and toed shoes, he’s a kid, a strapling, and candy would make him smile,” and a rat (Morrison 121). They are especially forthcoming about their distaste for Dorcas and easily detect her deception: “I always believed that girl was a pack of lies. I could tell by her walk her underclothes were beyond her years, even if her dress wasn’t,” (Morrison 74).
The narrator feels more positively and fondly towards the setting than they do about other characters. The narrator provides little personal information about themselves, but their love for the City is paramount as well as their captivation by the reckless behavior it inspires, “I’m crazy about this City.” (Morrison 7). He/she attempts to act like the City and narrate the way they think the City would: decisive and with meticulous attention to detail (Morrison 8). They take immense pride in knowing as much as they can about everyone else while remaining as elusive as ever, “I watch everyone and everything and try to figure out their plans, their reasonings long before they do,” (Morrison 8).
The primary narration style of the unknown first-person supported with the third-person omniscient and the personal, first-person insights from the actual characters all work together cohesively to put forth many different perspectives. The influence of jazz music is apparent as each distinct mode of narration (acting as separate musical lines for different instruments) add something special to the overall story, bringing forth more depth and detail. The constant back and forth between the different styles keeps the audience interested and on their toes; new information is being presented in new ways. Consequently, the reader receives a more immersive, vivid retelling of the plot and is allowed to draw their own conclusions about the validity of some claims versus others.
Word Count: 969 words
Works Cited
Morrison, Toni. Jazz: A Novel. Vintage Books, 2006.
Schuller, Gunther. "Jazz." Encyclopædia Britannica, Encyclopædia Britannica, Inc.,
23 Jan. 2019, www.britannica.com/art/jazz.
Catalina,
ReplyDeleteI too, found it interesting how the narrator was that gateway for the reader to understand the story as a whole. I really liked how you explained the narrator and compared it to the genre of jazz:
“Violet shares her inner thoughts using “I” while Joe has a section where he monologues with dialogue using the first person (Morrison 95,121). The almost random transitions into these alternate forms of narration mimic the sudden improvised solo parts often found in jazz music”
One thing I would like to see if you were to expand on this blog post, is to have you explain the importance of the city more. How do the people impact the narrator’s view on the city? It would be very interesting to read. Good job overall!!
Hi Catalina! This was a very insightful post about the narrator of Jazz and how it shifts, reminiscent of jazz music. I especially liked how you tracked the changes in narration and brought attention to both the distinct changes in point of view while still acknowledging the more subtle elements like the narrator's relationship to the city. I think one thing you could have added was a sentence or two elaborating on how the different opinions of the narrator reflect their connection to jazz music. This was a super interesting post! Thanks for sharing!
ReplyDelete