Conclusion: This work enables us to understand the importance of both sticking to the literary aesthetics and depicting the

bitter issues of black race in African American literature. It further enables us to get closer to Toni Morrison. Anyone familiar with reading literature knows that Morrison is one of the most accomplished American novelists of our time. Her talent joins the jointless and gives voice to the voiceless. Morrison is often regarded as the premier promoter of African American Literature. Her great success at relaying the dramatic import of her work has been primarily obviously due to her writing about realities that are very much close to home. Morrison has also been largely praised for the sheer epic scope of her stories, the apparent importance she gives to clarity of dialogue and the meaningfully charged accounts of genuine Black culture and life as only an involved African American can comprehend and tell. Morrison is also praised for her unique writing style in which she apparently shuns the traditional chronological order of storytelling in her important works and utilizing instead split narratives and interspersing the past, present and future events in the telling of her stories. This does not mean however, that Morrison does not make any sense. On the contrary, her style has been much applauded precisely because her stories remain unified and cohesive despite her unusual style. In her fiction, Morrison overviews African American presence in white American literature from a critical frame similar to the one that Edward Said developed in order to analyze how the Orient has been the metaphoric Other of the Western in his foundational postcolonial study, Orientalism. Morrison examines how blackness has been a necessary condition for the articulation of whiteness in

canonical white writers texts. Significantly, Morrison criticizes the epistemic notme status of people of color, which has been an important issue in black studies. Morrison states that, in that construction of blackness and enslavement could be found not only the not-free but also, with the dramatic polarity created by skin color, the projection of the not-me. Morrisons fiction quests for the method to transform the epistemic status of the not-me that continues to drive African American people into self-hatred and self-alienation. In other words, Morrisons primary concern in her fiction is to examine and reconfigure black identity, which has been ideologically constructed by white racist discourses. Thus, Morrisons fiction more or less centralizes the characters that either suffer from self-negation or search for their authentic identity. In fact, the restoration of decolonized authentic identity has been one of the important politics in early postmodern era. During the course of this research we have come know that through her literary journey toward black literary authenticity, instead of simply stating the necessity for recovering authentic blackness, Morrison reconfigures black identity not as a static and mythical entity that can be geographically located but as a mobile entity that can take a different shape in different (historical/ sociopolitical/ communal/ spiritual) contexts. Furthermore, by dismantling (or hybridizing) the binary discursive system of white/colonizer/definer and black/colonized/defined, Morrison illuminates the possibility of agency for African Americans and thus, the possibility of resistance right in the colonial space. Sethe in Beloved, who the masters history has recorded as a helpless and gone wild black woman under slavery, in fact, is re-presented in Morrisons narrative as a resistant individual who performed back to her master the colonial discourse of animality planted into her blackness and claimed the

ownership of her daughter. Significantly, by describing black characters that are subversive/resistant and mimicking/hybridizing the colonial discourse in her novels, Morrison adds the presence of African Americans with the sense of white Americans. Ultimately, in Morrisons fiction, the location of black identity becomes the sociopolitical space where cultures are hybridized, powers are negotiated, and individuals are reproduced as resistant agents. In Beloved, Morrison is no more nostalgic for coherent and mythical black identity. Instead, Morrisons critique of black identity is accomplished through her rewriting of the official history that has been represented by Western colonial discourses. By retelling the story of a black mothers infanticide with multiple narratives in Beloved, Morrison rejects the white masters monolithic definition of the event, make heard the silenced black mothers voice, and examines ideological forces that contributed to the cause of the tragic event. More importantly, visiting the history of slavery, Morrison rewrites black slaves as modern subjects who not only suffered from but also challenged the physical and epistemic violence of white masters. The Western colonial discourse has associated blackness with primitivism in order to justify their colonial desire and system. However, in colonial reality, when black people act in accordance with the racial discourse of jungle and wildness planted by white masters. When Sethe kills her own daughter in the danger of being caught by the white master and more intentionally, when Sethes mother throws away her children born through whites rape of her during middle passage, they must have been seen as wild and savage by white masters, which contributes with more evidence to the inferiority blacks were living under. However, at the same time, through their wild act of replicating the masters violent actions, Sethe and her mother maintain self-power and resist the

white masters who ask them to be a breeder and sexual object. In other words, by claiming the ownership of their children through infanticide, those black women might be compared to animals lacking humanity, but, simultaneously, they challenge the slavery system whose economy is to reproduce as many black bodies as possible, who can serve as sexual objects and labor forces for white masters. Ultimately, configuring slavery in contemporary African America, Morrison embraces the dualism of structure and history. Furthermore, in The Bluest Eye, Morrison has depicted a troubled African Americans self-identity. In her first novel, Morrison does not actively reclaim

authentic black culture and identity as opposed to fictional blackness constructed through the white racist discourses. However, by culturally critiquing the colonized mind of African Americans, Morrison professes the necessity of future blackness and illuminates the possibility of class subjects which can stand outside and against racist ideologies. Even though slavery has been abolished, the white supremacist cultural norms still prevail through cultural products and keep colonizing the psyche of African Americans. In The Bluest Eye, Pecola takes every opportunity to drink milk only to consume the image of Shirley Temple on the milk cup. When she faces Mr. Yakobowskis petrifying look reducing her into an inanimate thing, Pecola compensates the absence of human recognition [toward her] for the white images of Mary Jane candies where her smiling white face, blond hair in gentle disarray, blue eyes are printed. Paulin, Pecolas mother, abandons her family and escapes from her harsh reality by identifying with the Hollywoods actress such as Jean Harlow. In doing so Morrison presented African Americans as being trapped in a kind of intra-

racial condition thats more insidious and more difficult to detect and resist than the older overt racism. Through her versatile fiction, Morrison shows a great talent in the reconciliation between artistic literary authenticity and black racial concerns. She magnificently moves from realm to another without even letting the reader notice that, which is a gift not so many people are given.