As Sethe reminisces over the way
124 was when she first arrived there with her newborn baby, she recalls that
Baby Suggs used to preach to former slaves and their families in a clearing in
the woods. Morrison uses
repetition along haunting images of slavery in order to clearly juxtapose the
happiness experienced through being part of Baby Sugg’s community and the
horror experienced under slavery.
Sethe tells that Baby Suggs taught that “in this here place, we flesh;
flesh that weeps, laughs… Love it. Love it hard” (103). All who have gathered in the clearing
are free to express themselves however they want to and for that they should be
truly grateful. Morrison repeats
the phrase “love it” to the highlight how important it is for these former
slaves to appreciate their freedom.
This point is made clearer as Baby Suggs goes on to say, “Yonder they do
not love your flesh… No more do
they love the skin on your back.
Yonder they flay it” (103).
In this instance, “Yonder” can be interpreted as anyplace away from the
tight knit community created by Baby Suggs or as within the institution of
slavery. Either way it is a
terrible place, for Morrison uses the image of flayed skin, which is commonly associated
with the cruelty of slavery. The
haunting image that goes along with “Yonder” is juxtaposed with the happiness
experienced in the clearing as Baby Suggs implores her followers to “Love your
hands! Raise them up and kiss them” (103). Being part of Baby Suggs community is wonderful and
liberating, while being under slavery is horrible and terrifying. By showing the great influence Baby
Suggs had over all her followers, Morrison is able to give an idea of the
drastic effect her death and absence has had on Sethe.
Jack, you chose a crucial scene to analyze. I would encourage you to consider why Morrison juxtaposes Baby Suggs' imperatives to her own community to "love" and to reclaim their bodies -- limb by limb -- with haunting declaratives that remind them that white people do not love them and would "flay" them if they could. It seems that this scene is about the promise of liberation, but Morrison tempers it. Why does she?
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