Morisson

2023 )‫ (يناير‬1‫ ع‬،15 ‫مج‬ )‫( اللغويات والثقافات المقارنة‬ ‫مجلة كلية اآلداب جامعة الفيوم‬
God Help the Child (2015):

Toni Morrison’s Healing Narrative
Ahmed M. AL-Kahky
aalkahk@yahoo.com
Abstract
Toni Morrison dealt pervasively and sequentially with the
traumatized experience of abused children in her fictional canon.
Morrison, an Afro-American writer opted for the adoption of
postmodern narrative techniques in order to overcome the quandary of
being a black writer whose primary narratee belongs to the mainstream
white American culture. This paper aims at investigating Morrison’s
schematic narrative technique in remembering, revealing and
eventually healing the traumatic history of abused African American
children in her last novel God Help the Child (2014). The paper
hypothesizes that Morrison adopts a postmodernist authorial stance in
the composition of God Help the Child depending mainly on the
dialogical polyphonic consonance of the heterodiegetic and
homodiegetic narrative voices of the main and minor characters in this
novel. Moreover, the hypothesis of the paper is based on the
presumption that Morrison’s narrative schema is traceable to the
psychoanalytic theory that the course of psychological recovery of the
traumatized victims of child abuse is preconditioned by rendering full
catharsis of trauma by means of narration.
Keywords: Child abuse, Trauma, Postmodern narrative,
polyphony, Judith Herman, Recovery, Magic Realism and
chronotope.

Associate Professor- Department of English Language and Literature -
Faculty of Arts- Damietta University.
(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

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The 1993 Nobel Laureate Toni Morrison dealt pervasively and

sequentially with the traumatized experience of abused children in
her fictional canon starting with her most acclaimed debut The
Bluest Eye (1970). Being an Afro-American writer, however,
necessitated Morrison’s adoption of innovative narrative
strategies to overcome the quandary of being a black writer whose
primary narratee belongs to the mainstream white American
culture. In Unspeakable Things Unspoken: The Afro-American
Presence in American Literature, Morrison says that these
strategies are meant for accommodating “the mere fact of writing
about, for, and out of black culture while accommodating and
responding to mainstream “white” culture” (154). Thus, in her
attempt to reconcile the expression of African American
vulnerabilities to a Jim Crow supremacist white readership,
Morrison opts for the indirect deliverance of her ideological
stances by letting her characters authorize themselves rather than
by defending them openly.
This authorial paradigm shift is mainly Morrison’s strategy of
expressing her ideology through the free indirect discourse of her
characters in order to confront the racist ideology of her implied
WASP readership. This convergence coincides, as Susan Lanser
writes in Fictions of Authority, with
another convergence of African-American and
feminist movements that intersect with a very
different moment in the history of narrative voice:
the moment I am calling “postmodern.” Lanser

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elaborates, it is a moment in which the narrator as a

superior authorial voice “becomes not merely
hollow but absurd. (126)
Toni Morrison’s masterful postmodernist narrative technique in
God Help The Child could be best described in terms of the
classic idiom ars est celare artem (art is the concealment of art).
Applying magic realism and shifting between multiple
heterodiegetic and homodiegetic narrative focalizers render
Morrison’s last warning message against child abuse the strongest
in her literary canon.
An abused child is either sexually molested and raped, or
psychologically traumatized by parental neglect, maltreatment
and/or societal rejection. Child abuse aggravates especially in the
case of Afro-American children. According to the official
statements of the U.S. Department of Health & Human Services
and the fact findings of the report Child Maltreatment 2014,
abused African American children die three times greater than
that of the white children, and while they make approximately 16
percent of the child population nationally, they make up 30
percent of the child abuse and neglect fatalities. The report states:
“using the number of victims and the population data to create
rates highlights some racial disparity. The rate of African-
American child fatalities (4.36 per 100,000 African-American
children) is approximately three times greater than the rates of
White or Hispanic children”(54). This rate disparity is indeed
racially based on how the African American children are in most

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cases the objectified victims of racial projection at the hands of

their prime caregivers: their parents.
Domestic violence and oppression practiced against women
and female children in African American families is traceable to
the devastating long history of slavery in the United States. The
atrocities of slavery and the inhuman treatment experienced by
the African American ancestors at the hands of their white
masters have always kept the vicious circle of the psychological
projection of violence against their offspring revolving. The
abused children become dysfunctional members in the society;
moreover, they develop “coping strategies,” as Manuela López
Ramírez explicates in “Childhood Cuts Festered and Never
Scabbed Over”: Child Abuse in Toni Morrison’s God Help the
Child, “to resist maltreatment or they can internalize oppression
and feel unworthy and accept self-loathing” (149). The impact of
abuse, neglect and violence against black children leads typically
to a catastrophic childhood trauma that deforms their personalities
and coerces them to psychopathic adaptive measures.
Commenting on the impact of psychological child abuse
on children and how it equally affects them same as physical
abuse, E. Hopper, F. Grossman, J. Spnazzola & M. Zucker
explain:
victims of childhood emotional abuse and neglect
exhibit equal or worse immediate and long-term
effects than survivors of other forms of
maltreatment and violence that have been much

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more the focus of clinical and research attention

over the past four decades (e.g., physical abuse,
sexual abuse, community and domestic violence).
(86-87)
Moreover, unlike adults, children become grievously powerless
and susceptible to psychological harm especially when it is
caused by a parent. In Trauma and Recovery, Judith Herman
elaborates this point:
Repeated Trauma in adult life erodes the structure
of the personality already formed, but trauma in
childhood forms and deforms the personality. The
child trapped in an abusive environment is faced
with formidable tasks of adaptation. She must find a
way to preserve a sense of trust in people who are
untrustworthy, safety in a situation that is unsafe,
control in a situation that is terrifyingly
unpredictable, power in a situation of helplessness.
(70)
The helplessness of the traumatized victims hunts their
memory and controls their entire being. Cathy Caruth explains, in
Unclaimed Experience: Trauma, Narrative and History, that the
traumatized individuals shoulder the perilous burden of the
history of the trauma within themselves or “they become
themselves the symptom of a history within them, or they become
themselves the symptom of a history that they cannot entirely
possess” (5). Likewise, Herman, along with a considerable host of
other psychologists, insists that “remembering and telling” the
memory of trauma is the prerequisite for the “restoration of the
social order and for the healing” (12) of the traumatized person.

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This paper aims at investigating Toni Morrison’s narrative

scheme in remembering, revealing and eventually healing the
traumatic history of abused African American children in her last
novel God Help the Child. The paper hypothesizes that
Morrison’s adoption of a postmodernist authorial stance in the
composition of God Help the Child depended mainly on the
dialogical polyphonic consonance of the heterodiegetic and
homodiegetic narrative voices of the main and minor characters in
this novel. In addition to the use of magic realism, the intended
lack of direct reference to specific time and place adds to the
enigmatic atmosphere of the narrative discourse of those
characters with the aim of universalizing their common
experiences of traumatic child abuse. Moreover, the hypothesis of
the paper is based on the presumption that Morrison’s narrative
schema is traceable to the psychoanalytic theory that the course of
psychological recovery of the traumatized victims of child abuse
is preconditioned by rendering full catharsis of trauma by means
of narration.
The novel God Help the Child is made up of four parts. Each
part consists of consecutive narrative segments that alternate
between the homodiegetic (first-person) narrative voices of
multiple characters and the heterodiegetic (omniscient) authorial
voice aimed at setting the stage for the revelation of the history of
traumatic child abuse experienced by the two main characters
Bride and Booker. This alternation incorporates with the shifting

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of narrative foci through its various characters; as a result,

revealing intermittently the history of the trauma of child abuse by
portraying the shifts in the lives of the two main characters Bride
and Booker. Commenting on the narrative consorting of these
narrative renderings, Walton Muyumba writes in “Lady Sings the
Blues”:
God Help the Child is a tragicomic jazz opera
played out in four parts. Part I reads like a choral
prelude: there are nine sections, each driven by an
individual voice, as if Sweetness, Bride, Brooklyn,
and Sofia were trading improvised solos. Part II
contains four sections: two told by an omniscient
third person narrator and one each for Sofia and
Rain. Part III is devoted entirely to Booker’s
backstory, told by the anonymous third person
narrator. And part IV is made up of three sections:
Brooklyn returns for a solo: the anonymous third
person narrates Booker’s reunion with Bride; and
Sweetness closes the show with a final flourish.
(N.P.)
It is worthy of note that the course of the events in God help the
Child: the remembering, the establishing of the trust in an
untrustworthy society and the victim’s cathartic revelation of the
traumatic past are concomitant with what Herman labels “The
fundamental stages of recovery,” which are basically the
“establishing [of] safety, reconstructing the trauma story, and
restoring the connection between survivors and their community”
(14).

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The first part of the novel consists of nine narrative segments

that follow the dramatic consecutive entries of the homodiegetic
voices of Sweetness (Bride’s mother), Bride and her work partner
Brooklyn. This narrative consequence is repeated a second time,
and it is concluded with Sofia’s narration of her experience of
child abuse and its catastrophic effects on her life. In fact, the first
part of the novel plays an essential role in the setting of the
background for the narration of Bride’s traumatic history of child
abuse from multiple narrative stances: in coincidence with the
first stages of trauma recovery: remembrance.
Sweetness’s first words; “It’s not my fault. So you can’t
blame me” (3) reveal her compunctious regret for being the
primary cause of Bride’s traumata of child abuse in spite of the
fact that she is supposed to be her prime caregiver. The
exonerative tone of Sweetness’s first entry resonates within the
collective African American subconscious helplessness towards
their generic black skin in this racial society. Sweetness
reminisces about the long history of social segregation against
Blacks in American society. She says how her mother’s relatively
light skin color could have “passed easy” for a white woman but
she chose otherwise and had to pay a heavy price for her choice.
Lula Mae, Sweetness’s mother, worked as housekeeper for a rich
white couple. They ate the food she made for them and scrubbed
their backs “while they sat in the tub and God knows what other
intimate things they made her do.” Nevertheless, when she went

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to the courthouse to get married to Sweetness’s father they found

“two Bibles and they had to put their hands on the one reserved
for Negroes” (4). Sweetness’s memories reveal more about the
cause of her deep shock when she first saw her “Midnight,
Sudanese black” (3) newborn baby. It is almost catastrophic for
Sweetness to have a child whose black skin is darker than hers as
it means a “throwback” in the social order:
I’m light-skinned, with good hair, what we call high
yellow, and so is Lula Ann’s father. Ain’t nobody in
my family anywhere near that color. Tar is the
closest I can think of yet her hair don’t go with the
skin […] you think she’s a throwback” (3).
Having black skin in this racial society meant being “spit on in a

drugstore, shoving elbows at the bus stop, walking in the gutter to
let whites have the whole sidewalk, charged a nickel at the
grocer’s for a paper bag that’s free to white shoppers” (4). Having
a light skin color; by contrast, meant having privileges that her
light-skinned parents enjoyed. Thus, her mother was not stopped
from “trying hats in the department stores or using their ladies
room. And [her] father could try on shoes in the front part of the
shoe store, not in the back room. Neither one would let
themselves drink from a “colored-only fountain” (4). The
narration of these racist facts sets the background for Sweetness’s
resentful attitude toward her own child whose “blue-black” skin
made her feel “embarrassed” and contemplate infanticide as she

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“held a blanket over her face and pressed.” She even thought of
“giving her away to an orphanage.” As soon as she took her baby
home she stopped nursing her and started “bottle-feeding” (5).
The newborn child was also rejected by her father who
accused her mother of cheating on him. He never touched her and
treated her “like she was a stranger—more than that, an enemy”
(5). The father deserts them both forever when the mother tells
him that the child’s blackness “must be from his own family” (6).
Meanwhile, Sweetness had to look for a cheaper place and to take
some precautious measures against acknowledging her black-
skinned daughter publicly:
I know enough not to take her with me when I
applied to landlords so I left her with a teenager
cousin to babysit. I did the best I could and didn’t
take her outside much anyway because when I
pushed her in the baby carriage, friends or strangers
would lean down and peek to say something nice
and then give a start or jump back before frowning.
(6)
Sweetness’s shadism led her to project her racist fears against her
own daughter and to consequently maltreat her. She, for instance,
locked her daughter up because she didn’t want people to
recognize her as her daughter. Furthermore, Sweetness prohibited
Bride from call her “mother” or “Mama” in public. Thus, the
regretful tone in Sweetness’s personal voice confesses her
parental rejection and neglect of her daughter as she says, “I told

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her to call me “sweetness” instead of “Mother” or “Mama.” It was

safer” (6). In fact, Sweetness’s confessional narrative exposes her
as the primary cause of Bride’s traumatic childhood experience.
Moreover, this is exasperated by her admittance of practicing
racism against her own child. The final words spoken by her in
this part, “it’s not my fault” (7), reveal the nature of psychological
stress she experienced in rearing a child whose color is shadier
than hers in a racial society that practices discrimination and
annihilation of people on the basis of their skin colors.
The following chapter of the first part is delivered in Bride’s
homodiegetic narrative voice. There is a time laps of twenty
three-years that separate Sweetness’s narration from Bride’s.
Through her narration, the reader is delivered a glimpse of Bride’s
life as a twenty-year-old successful businesswoman: the owner of
a thriving cosmetics product line which she labled “You Girl”
(10). She lives in her luxurious apartment and drives her “sleek,
rat gray [Jaguar] with a vanity license”. Bride has a work
assistant; dines in extravagant restaurants, and enjoys parties and
promiscuous sex. She, however, severed her ties with her mother
since she decided to leave after high school. In this stage of
Bride’s life, we witness her taking the first step in direction
toward recovery from her traumatic past, which is creating a
secure environment by achieving personal freedom and taking
possession of her material surroundings. This typically relates to
Herman’s three stages of trauma recovery as she explicates:

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[R]ecovery unfolds in three stages. The central task

of the first stage is the establishment of safety. The
central task of the second stage is remembrance and
mourning. The central task of the third stage is
reconnection with ordinary life. (180)
It is, therefore, an essential prerequisite for the traumatized victim

to gain freedom in order to achieve safety. However, freedom in
Bride’s case comes at a great cost. Despite her occupational
success and luxurious possessions, Bride is fully aware of the
fallacy of her materialistic world. She is conscientiously
compunctious about her promiscuity so she admits, “my life is
falling down. I’m sleeping with men whose names I don’t know
and not remembering any of it. What’s going on? I’m young; I’m
successful and pretty” (53). This realization comes to the surface
when her lover Booker decides to leave her after she tells him
about her intention to visit the ex-con Sofia Huxley. Booker just
tells her “you not the woman I want,” and leaves. Bride’s long-
maintained false materialistic world suddenly crumples and she
feels “melting away” (8).
Bride learns after her break-up with Booker that the safety
of her material affluence is void and unreliable, so she starts the
perilous journey of self-reconciliation that ensues in the second
stage of remembrance and mourning. Bride’s first-person
narrative voice expresses her perplexed emotional state after
Booker left her. Though Bride had numerous boyfriends, her sex

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life was void of emotional gratification. She says that her

promiscuous sexual relations were like “Diet Coke—deceptively
sweet minus nutrition,” and that all her ex-lovers were “waiting
for [her] crotch or [her] paycheck like an allowance” (36). Still,
Booker was especially different because he was the only friend
Bride could confide in. Thus, she says, “I spilled my guts to him,
told him everything: every fear, every hurt, every
accomplishment, however small” (53). According to Herman, the
second stage of recovery consists of founding a secure emotional
bond with trustworthy persons with whom the traumatized victim
can have a catharsis of his/her psychological ailment.
Herman writes; “sharing the traumatic experience with
others is a precondition for the restitution of a sense of
meaningful world” (51). Therefore, Booker is Bride’s confidant
whose presence in her life means release by voicing her traumatic
past and whose absence means lack of psychological balance.
Bride found that talking with Booker could make “certain things
[she] had buried came up fresh as though [she] was seeing them
for the first time” (53). In fact, Morrison’s polyphonic alternation
of the narrative voices of Sweetness and Bride in the first part of
God Help the Child aims at revealing the atrocities of child abuse
through the parallel oscillation between the mother’s
remorsefulness and the daughter’s cathartic remembering that is
only accessible in Booker’s presence.

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Sweetness’s following monologue in the first part of the

novel reveals more of the atrocities of childhood abuse and
neglect she inflicted upon her child. The mother’s monologue is
followed by the daughter’s in a narrative schema that aims at
achieving a dialogic interactive plurality of consciousness in
which each character delivers her homodiegetic version of reality
and the reader is not constrained to receive a monologist
heterodiegitic version imposed by an omniscient author. There
are, however, narrative intervals by other characters in the form of
monologues such as those by Brooklyn and Sofia who were also
traumatized by child abuse. The reader is given, in Bakhtin’s
terms, a heteroglossia of several realities of child abuse conveyed
by several voices depending on their different perspectives.
Repeatedly, Sweetness affirms that she was not a “bad
mother” (43). She admits that she feels bad about the way she
“treated Lula Ann when she was little,” but she immediately
asserts that she had “to protect her. She didn’t know the world”
(41). Sweetness’s remorseful monologue reveals how racism
affected the lives of Black children especially when it was
practiced by white age-mates. She says:
I once saw a girl nowhere near as dark as Lula Ann
and who couldn’t be more than ten year old tripped
by one of a group of white boys and when she fell
and tried to scramble up another one put his foot on
her behind and knocked her flat again …See if I
hadn’t trained Lula Ann properly she wouldn’t have

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known to always cross the street and avoid white

boys. (41)
Remarkably, Sweetness’s monologue includes her account of

the most distressing incident in Bride’s life, which is taking the
witness stand in Sofia Huxely’s trial for the accusation of child
sexual harassment. Sweetness says that Bride’s performance in
the court made her “proud as a peacock” because it was not “often
you see a little black girl take down some evil whites” (42). The
vindictive tone of Sweetness’s account reveals the animosity of
the racial social periphery they lived in. The vengeful exaltation
the mother experienced changed her attitude toward the child
whom she never touched, so she “had her ears pierced and bought
her a pair of earrings” as a reward for her “courage” (43). That
“courage” of the daughter was; nevertheless, as false as her
testimony for which she paid a heavy price.
Bride withstood severe psychological pain for the rest of her
life for falsely accusing Sofia of taking part in molesting school
children, and for causing her to be sent to prison for fifteen years.
Bride bore the shamefulness of this secret, along with a more
horrendous one, that traumatized her consciousness for long
years. It is only through her relationship with Booker that she
could recover from her repressed pain by narrating those shocking
incidents. So, through Bride’s monologue, the reader is given a
variant narrative view of her traumatic past. It is a polarization of

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narrative focalization that aims at a wider scope of the revelation

of the facts. The schematic narrative variation in the accounts of
the mother and the daughter is the hallmark of legitimate reliable
witness testimony.
After her false testimony at the courthouse, Bride
reminisces how her mother touched her tenderly for the first time
since she was born. The repetition of “she held my hand, my
hand” in her account reveals the deep psychological pain Bride
suffered from because of her mother's loathsome maltreatment
just because of her stark blackness. As a child Bride was deprived
of her mother’s tenderness as she says that she yearned for even a
slap on the face:
[…] I always knew she didn’t like touching me. I
could tell. Distaste was all over her face when I was
little and she had to bathe me. Rinse me, actually,
after a halfhearted rub with a soapy washcloth. I
used to pray she would slap my face or spank me
just to feel her touch. I made little mistakes
deliberately, but she had ways to punish me without
touching the skin she hated […]. (31)
Bride had to suffer parental rejection and maltreatment—both are

forms of child abuse—because of her mother’s shadism. The
above words reveal her deep sense of emotional deprivation,
especially from her mother’s tenderness. Bride was willing to do
whatever it required to gain her mother’s empathy.
Psychologically, this fits in with Herman’s analysis of the

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traumatized child’s psychopathic self-laceration in his/her will to

do whatever it takes to placate his abuser:
This malignant sense of inner badness is often
camouflaged by the abused child’s persistent
attempts to be good. In the effort to placate her
abusers, the child victim often becomes a superb
performer. She attempts to do whatever is required
of her. She may become an empathic caretaker for
her parents, an efficient housekeeper, an academic
achiever, and a model of social conformity. She
brings to all these tasks a perfectionist zeal, driven
by the desperate need to find favor in her parents’
eyes. (127)
A second horrendous shameful regret Bride had to suppress

during her childhood relates to her mother’s coerced
conspiratorial concealment of witnessing a child being sexually
abused. At the same age Bride gave her false testimony in Sofia’s
case just to please her mother, she was ordered to keep the secret
of witnessing their landlord raping a child in the back alley from
the window of their apartment.
In “Toni Morrison’s God Help the Child,” Kara Walker
writes that Morrison “has always written for the ear, with a loving
attention to the textures and sounds of words” (n.p.). One is prone
to verify that her narrative gratifies the senses of the reader so he
almost hears, smells, tastes, feels, and sees the narrated events
through her coherent and cohesive register. Bride’s description of
the landlord’s crime of raping a child in the back alley proves the

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hypothesized hyperbole above. With this horrible crime being

described, the reader listens through Bride’s monologue a “cat’s
meow […] how pained it sounded, frightened even” (54).
However, the meowing was not that of a cat but of the child being
raped by the landlord whose moaning “was soft, squeaky and
loaded with pain.” There is also the indelible visualized image of
the boy whose “little hands were fists, opening and closing” with
agonized pain between the “hairy white thighs” of his predator.
Bride, still little Lula Ann at the time of this horrible crime, is
double-fold traumatized due to her mother's apathy towards the
abused child and her coerced conspiratorial silence against this
heinous crime. Sweetness, we are told, was “furious,” not about
the “little crying boy, but about spreading the story. She wasn’t
interested in tiny fists or big hairy thighs; she was interested in
keeping our apartment.” As an innocent child who witnessed that
terrible crime, Bride had to suppress her shocked feelings of fear
and loathsomeness. Her mother warned her against letting the
secret out; “Don’t you say a word about it. Not to anybody, you
hear me, Lula? Forget it. Not a single word” (54-55). Instead,
Bride has never forgotten witnessing the horror and pain
experienced by the abused child, as well as she has never
forgotten Mr.Leigh looking up at her window and cursing her;
“Hey, little nigger cunt! Close that window and get the fuck outta
there!” (55). From a psychological perspective, the witnessing of
child abuse is as a devastating experience as that of being its

701
immediate victim. In his Trauma and the Memory of Politics,

Jenny Edkins explains this point; “[w]itnessing violence done to
others and surviving can seem to be as traumatic as suffering
brutality oneself” (4).
Furthermore, Herman explicates that “the abused child’s
sense of inner badness is compounded by her enforced complicity
in crimes against others. Children often resist becoming
accomplices” (126). Ironically, Bride bore the lacerating
remorsefulness of being forced to give false testimony against an
innocent woman just to please her mother, and of becoming an
accomplice in keeping the secret of a child abuse crime. The
painful feelings of regret and helplessness are traumatic as the
coerced silence meant the sparing of the real predator and the
false testimony meant the ruin of an innocent women’s life. Bride
says, “what if it was the landlord my forefinger was really
pointing at in the courtroom?” the perplexity of the situation
affects Bride’s psychological balance as both a child and an adult.
Bride, however, never gives a catharsis of her traumatized past
but only in the presence of Booker. She says “that was one of the
best talks we ever had. I felt such relief […] I felt curried, safe,
owned” (56).
In God Help the Child, the two main characters Bride and
Booker recover from their traumatic experiences through
narrative though at different paces. While Bride voices her trauma
as soon as she finds security and comfort in her relationship with

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Booker, she doesn’t fully recover but later in the novel after a
journey of self-reconciliation and full confession of her life-long-
hidden secrets. The initiation of this journey ensues after Booker
decides to leave her when she tells him about her intention to visit
Sofia, the woman she accused of child abuse when she was eight
years old. Booker’s words “you not the woman I want,” (8)
express his deep disappointment in Bride for trying to make
amends with a child predator. The announcement of her intended
visit to that “raging alligator” (29) woman ripped the scab off his
unhealed wound of child abuse.
The oscillation between the narrative monologues of Bride
and Sweetness in the first part of the novel is intersected by the
narrative intervals of Brooklyn’s and Sofia Huxley’s monologues.
Both were victims of child abuse and molestation that affected
their psychological beings. We first meet Brooklyn in the first
part of the novel twice, then a third and fourth times in the second
and fourth parts consecutively. Brooklyn is Bride’s closest friend
and her assistant in Sylvia, Inc., where they both work. She is a
blond twenty-one young woman who has had her share of
childhood abuse, and same as Bride she had to run away from
home after her uncle “started thinking of putting his fingers
between [her] legs again” (139). She had to run away when she
was fourteen, but “invented” and “toughened [herself]” (140).
Brooklyn says she can “read [Bride’s] mind like a headline”
(139). However, Brooklyn knows how strong Bride is except for

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when it comes to her promiscuous sexual relationships. It is

noteworthy that Brooklyn’s narrative intervals in first-person
voice help in shedding light on both Bride and Booker’s
personalities. Through her monologues, we learn about Bride and
Booker’s first random encounter in a dancing party. Both were
total strangers whose mutual licentiousness ignited their
immediate physical attachment. Brooklyn says, “You just don’t
grab somebody from behind like that unless you know them. But
she didn’t mind at all. She let him squeeze her, rub up against her
and she didn’t know a thing about him….She liked the sex.
Addicted to it and believe me I know” (58). Through Brooklyn’s
account, we also learn about Booker’s promiscuous nature, so he
doesn’t mind kissing Brooklyn who takes advantage of his being
alone naked in Bride’s bed. She backs up, however, because of
his offensive sarcasm:
Between kisses, I whispered, “Don’t you want
another flower in your garden?”
He said, “Are you sure you know what makes a
garden grow?”
“Sure do,” I said. “Tenderness.”
“And dung,” he answered. (59-60)
Sofia’s narrative homodiegetic monologues are only

introduced in the novel at the end of part one and at the second
chapter of part two. Sofia’s first-person narrative voice signals off
the first part of the novel after a sequel of consecutive narrative
entries repeated systematically twice. Thus, the sequence of the

704
narrative accounts of Sweetness, Bride and Brooklyn is repeated

twice and ends with Sofia’s final tone. This narrative scheme
consists of polyphonic interactive entries of narrative voices all
humming the same tune resonant throughout their shared
traumatic history of child abuse. With the absence of Morrison’s
authorial voice, this multi-voiced interconnectedness leads to a
plurality of consciousness as every character recounts the reality
from a different perspective. The reader, by consequence,
understands the reality of the characters’ accounts from variant
dialogic perspectives, and assumes the truth objectively. This also
fits in Bakhtin’s ideology of dialogic fictional creation, taking
Dostoevsky’s fiction as his ideal example:
What unfolds in his works is not a multitude of
characters and fates in a single objective world,
illuminated by a single authorial consciousness;
rather a plurality of consciousness, with equal rights
and each with its own world, combined but not
merged on the unity of the event. (6)
In two homodiegetic narrative chapters in the first and

second parts of God Help the Child, Sofia Huxley reminisces
about her traumatic experience in women’s prison “Decagon” for
fifteen years after being convicted of child abuse. Sadistic guards,
gang rapes, and infirmary imprisonment were aggravated by the
fact that Sofia and her cellmate “Julia,” who was in prison for
“smothering her disabled daughter,” (67) were “at the bottom of
the heap” of criminals because “hurting little children was their

705
idea of the lowest of the low” (66). Sofia was raised by austerely
religious parents, especially her mother who punished her
severely for some things she cannot even remember now, so she
“couldn’t wait to get out of Mommy’s house and marry the first
man who asked” (76). It is important to remark how Bride’s and
Sofia’s mothers abused their children by either rejecting or
maltreating them, and in both cases their children ran away as
soon as they could. Sofia recounts her vengeful attack on Bride
who was one of the students who “helped kill [her], take [her] life
away.” Still, Sofia is grateful for Bride for healing her
psychological pain as her narrative monologue achieves its
cathartic and/or healing effect:
For the first time after all those years, I cried. Cried
and cried and cried until I fell asleep….that black
girl did do me a favor. Not the foolish one she had
in mind, not the money she offered, but the gift that
neither of us planned: the release of tears unshed for
fifteen years. No more bottling up. No more filth.
Now I am clean and able. (70)
The second part of the novel includes two chapters in the

author’s heterodiegetic narrative voice: one followed by Sofia
Huxley’s monologue and the other is followed by Rain’s only
narrative contribution in the novel. Rain is a run-away adolescent
whom Bride meets with her foster hippy parents in the woods
after her car crashes into “what must have been the world’s first
and biggest tree” (82). Rain had her share of traumatic child abuse

706
same as the rest of the characters who populate the social milieus
of the two main characters Bride and Booker. Rain had to run
away from her prostitute mother who forced her into child
prostitution. The mother kicked Rain out after she bit a regular
client on whom she was forced to perform oral coitus. The mother
apologized to the client, “gave back his twenty-dollar bill and
made [Rain] stand outside” (101). She never let her back in. Rain
had to learn “where sleep was safe” and “what kinds of people
would give you money and what for” (102-103). She was named
“Rain” for the rainy night Evelyn and Steve found her waiting
alone at the Salvation Army truck stop” (103).
The third part of the novel is written in the third-person
narrative voice same as the fourth part except for two
homodiegetic narrative intervals by Brooklyn and Sweetness,
whose final monologue signals off the novel as it began it.
Morrison chose to dedicate half of the narrative discourse in God
Help the Child to the omniscience of the heterodiegetic voice in
order to activate other narrative techniques such as magic realism
and chronotopic encounters. The application of these techniques
helps in accelerating the healing process of the main characters’
traumatic experiences through their final reconciliatory reunion
and full psychological catharsis to one another.
After her breakup with Booker and the deadly battering by
Sofia, Bride feels the unraveling of the strong independent
identity she has built up ever since running away from her

707
mother’s house: she feels “[d]ismissed” and “[e]rased” (38). It is

worthy to note that this is the turning point in the narrative
scheme of God Help the Child at which Morrison switches to the
voice of the heterodiegetic narrator as Bride loses her sense of
identity; consequently, she loses her narrator/focalizer narrative
voice.
Same as Bride, Booker bore the burden of the memory of
his dead brother Adam who was a victim of a serial pedophile
killer “convicted of SSS, the sexually stimulated slaughter of six
boys” (118). Thus, Booker is fighting the demons of a childhood
trauma. He is a secondary victim whose psychological being is
shattered by the crime of child sexual abuse and murder in his
family and their devastating aftermath. Adam was Booker’s
favorite elder brother and the “replacement” for his dead-at-birth
twin. Loosing Adam left Booker psychologically debilitated as he
had always felt a “warm void walking by his side…A presence
that shared the quilt under which [he] slept” so years passed and
“the shape of the void faded, transferred itself into a kind of inner
companion” (115). The last time Booker saw his brother was
when he was skateboarding down the sidewalk in his fluorescent
yellow T-shirt. The visual image of Adam’s last appearance
floating like “spot of gold moving down a shadowy tunnel
towards the mouth of a living Sun” (115) clings to the mind of the
reader as fast does the “single yellow rose” booker places on the

708
lid of Adam’s coffin as does the same color of the rose he tattooed
on his left shoulder” (120).
The images of the roses on Adam’s Coffin and Booker’s
shoulder have complex metaphorical connotations. Booker’s ideal
family life never returns to its normal course. So, after Adam’s
murder, there were no more family unions, communicative
discussions or trumpet playing by his father. Nonetheless, after
months of mourning the family decides to move on and this
shatters Booker’s psychological being. He became obsessed with
a “poisonous vein of disapproval” (125) of his family’s attitude.
In the course of time, Booker became increasingly incapable of
forgetting or forgiving, and he could not get over how his family
“pretend[ed] it was over? How could they forget and just go
on?”(117). Adam’s death meant the loss of Booker’s soul mate:
his murder left him alone. In fact, Adam’s death “became his
own life […] his only life” (147). Six years later, Mr. Humboldt,
Adam’s murderer, was caught and executed for the sexually
stimulated slaughter of six boys, whose names were tattooed
across his shoulders and their amputated small penises were found
in a decorated candy tin in his house. Booker’s vengefulness had
never been quenched because he thought that the execution of
child abusers such as Humboldt was “a too facile solution,” as
Ramirez writes in “Childhood Cuts Festered and Never Scabbed
Over”: Child Abuse in Toni Morrison’s God Help the Child.
Instead, Booker would rather have his murdered brother’s body

709
“lashed” across Mr. Humboldt’s back as he heard that an African

tribe does so with murderers. He thought “that would certainly be
justice—to carry the rotting corpse around as a physical burden as
well and public shame and damnation.” The “calming solution,”
for Booker was to reenact the gesture he had made at his brother’s
funeral when he laid a rose on his coffin by having a small rose
tattooed on his left shoulder. This symbolic gesture has its
psychological implication as it means that Booker has displaced
his vengefulness against Mr. Humboldt upon himself: he
shoulders the shameful pain of his brother’s murderer upon
himself. He even wonders, “[w]as this the same chair the predator
sat in, the same needle used on his paste-white skin?” (120)
Morrison’s dedication of the third part of the novel to
the omniscient narrative voice sheds light on Booker’s personality
that was gravely affected by the heinous child abuse that tortured,
mutilated and killed his brother. We learn through this
heterodiegetic stance how Booker adopted a sardonic attitude
towards his life and all he did in college was to “sneer, laugh,
dismiss, find fault [and] demean”(121). Before falling in love
with Bride, Booker had a relationship with Felicity, a “substitute
teacher.” They enjoyed their time together for two years “without
deadlines,” (126) or obligations. However, they broke up after
realizing their differences: Booker found Felicity “nosy, forever
prying into his life,” and she saw him as a “misogynist
loser”(128). The final stroke came when Felicity had to bail out

710
Booker from a police station after battering two drug addicts who
were “sucking on a crack pipe” while a two-year baby was left
“screaming and crying in the backseat of the crackheads’ Toyota”
(128). In spite of Felicity’s sarcastic remark about Booker being
“batman,” (129) it proves to be the right description of his self-
avowed mission to defend children against abusers. Having lost
his brother in such a horrendous crime, Booker constantly shows
aggressive and/or impulsive emotional reactions. However,
Booker’s impulsive aggression shows only as an enactment of his
will to defend helpless children against any possible predators.
This explains Morrison’s first introductory descriptive words of
Booker at the beginning of part four:
Blood stained his knuckles and his fingers began to
swell. The stranger he’d been beating wasn’t
moving anymore or groaning […]. He’d left the
beaten man’s jeans open and his penis exposed just
the way it was when he first saw him at the edge of
the campus playground. Only a few faculty children
were near the slide and one was on the swing. None
apparently had noticed the man licking his lips and
wavering his little white gristle towards them. (109)
Booker’s instant infatuation with Bride led to a “flawless”

(133) relationship for six months of “the bliss of edible sex, free
style music, challenging books and the company of an easy
undemanding Bride” (135). Nonetheless, Booker had to move
away when Bride told him of her intention to visit a convicted
child abuser.

711
Tracing the narrative scheme of God Help the Child,

Bride’s journey into the countryside in search of Booker and their
eventual reunion make up almost the rest of its third and fourth
parts. The eventual union of the two main trauma-stricken
characters parallels the last two stages of recovery as explicated
by Herman: “reconstructing the trauma story, and restoring the
connection between survivors and their community” (14).
Morrison’s inclusion of the fairy-tale mythical transformation in
Bride’s physical appearance—in the mid of this seemingly
realistic fictional world—parallels her use of the chronotope of
the road as both techniques reflect Bride’s perplexed feelings
toward her lost identity. It is noteworthy that Booker at this point
was equally suffering his loss of identity; therefore, he too sets
out on a journey back to his hometown, “Whiskey, California”
(75). Amazingly, after her break up with Booker, Bride begins to
realize sudden inexplicable transformation in her body that reverts
her back to adolescence. In addition to other magical
transformations, Bride notices that her pubic hair disappears; her
breasts flatten; and her earring holes vanish:
Although there were no more physical
disappearances, she was disturbed by the fact that
she’d had no menstrual period for at least two,
maybe three, months. Flat-chested and without
underarm or pubic hair, pierced ears and stable
weight , she tried and failed to forget what she
believed was her crazed transformation back into a
scared little black girl. (14)

712
The idea of these magical transformations in Bride’s physique is

closely related to her journey in quest for her lost identity. Bride
had to get rid of all her false materialistic surroundings and
possessions and to lay off her vain femininity which she carried
throughout her career as a salable commodity. In this respect
Manuela Lopez Ramirez comments, “in her epiphany, Bride,
away from her sophisticated life, realizes how materialism cannot
make up for her traumatic childhood” (184). As soon as Bride
begins her journey, she is stripped off her car, her luxurious life
style and her vainglorious self-image as a successful
businesswoman. This element of magic realism is applied
concomitantly with the application of the chronotope of the road
to an uncertain destination. Morrison is brilliantly making use of
these two narrative techniques in order to prepare both Bride and
Booker for their eventual reunion and full recovery from their
traumatic past: they both have to be stripped off of that traumatic
past and to be driven away from the materialistic vanity of this
world.
In The Dialogic Imagination Bakhtin writes, “the image of
man is always intrinsically chronotopic”(65). According to
Bakhtin, chronotope is the organizing center for the
interconnectedness of the fundamental narrative events of the
novel and the means of materializing time in space:

713
It is precisely the chronotope that provides the

ground essential for showing forth, the
representability of events [...]. All the novel's
abstract elements—philosophical and sociological
generalizations, ideas, analyses of cause and
effect—gravitate toward the chronotope and
through it take on flesh and blood, permitting the
imaging power of art to do its work. (250)
Bride’s journey is chronotopically devised to retrieve her

back to purity as a child. The unraveling of Bride is both literal
and metaphorical as it aims at the “unpeeling of layers of
civilization [and paring] her down to the bare human,” (8) as
Meenakshi F. Paul and Khem Raj Sharma write in “Childhood
Matters: The Palimpsest of Retellings in God Help the Child.” In
this journey, Bride “sets out on a restorative identity quest for
self-forgiveness and self-definition,” (156) as Ramirez explicates.
Bride had to learn that she “had counted on her looks for so
long—how well beauty worked. She had not known its
shallowness […]”(151). In rural California, Bride’s Luxurious car
crashes into a large tree and her ankle get fractured. Luckily she is
rescued and taken care of by the hippy couple, Steve and Evelyn.
This incident, however, marks off the transmission into a
chronotopic terra incognita and undetermined time zone. The anti-
capitalist couple’s unconditional care and kindness teach Bride a
lesson about the vagueness of her materialistic attitude, so she
wonders “what did she know anyway about good for its own sake

714
or love without things? (92). Remarkably, after Bride is fully

stripped off of her façade of material affluence and vainglorious
femininity the first person who comes into her sight is Rain: the
white version of herself. Same as Bride, Rain is a run-away child
who had her share of traumatic child abuse. Their relation,
especially after Bride’s regression to childhood, is very influential
in taking Bride out of her self-absorption and monologicality. In
mid idyllic landscape, the two children find solace in each other;
henceforth, their healing process ensues as they voice their
traumatic memories. Rain was physically rescued by the hippy
couple but never healed psychologically until she met Bride. Rain
complains “I don’t know who I can talk to.” She likes her foster
parents but “they frown or look away if I say stuff about how it
was in my mother’s house”. By contrast, Bride, “[her] black lady
listens to [her] tell how it was. Steve won’t let [her] talk about it.
Neither will Evelyn” (104). In fact, Bride and Rain’s encounter is
an extremely essential step toward her recovery. Hence, the power
of the healing narrative which Morrison allows her traumatized
characters to experience through giving voice to their long-
repressed past pains. Bride’s attitude changes radically from
selfish apathy to altruistic self-sacrifice as she covers Rain’s face
and body with her own body in a gangsters’ shotgun attack. The
two children provide for one another what they missed in their
toxic relations with their natural mothers: maternal care and self-
sacrifice. Rain says, “My heart was beating fast because nobody

715
had done that before. […] nobody put their own self in danger to
save me. Save my life. But that’s what my black lady did without
even thinking about it.” (105-106).
The final encounter between Bride and Booker takes place
after a transient sojourn with his aunt. Same as Sweetness,
Queen—Booker’s aunt—is a single mother who had been affected
by African patriarchy: both women had suffered the desertion of
their husbands and both are penalized for their neglect of their
children. Queen, however, proves to be a weaker mother than
Sweetness as she could not keep any of her children. She had
multiple husbands and had to abandon her children in order to
“marry other men. Lots of other men” (169). Queen had “no
opportunity to raise a single child beyond the age of twelve”
(159). Nevertheless, her main traumatic memory pertains her
failure to keep her daughter Hannah safe from sexual abuse by her
father. Queen refused to believe Hannah and ever since “the ice
between them never melted” (170). As a result, Queen had to
suffer the abandonment of her daughter who ran away same as
Bride, Rain, Brooklyn and Sofia did with their mothers.
At the final part of the novel—told in omniscient third-
person narrative voice—Bride and Booker give full catharsis of
their traumatic pain and achieve full recovery through narrating to
each other the atrocities of their traumatic past. Booker and Bride
reconcile after she admits giving a false testimony in Sofia’s trial
in order to please her psychopathic mother. This cathartic

716
confession relieves her troubled psychological being and leads to

her eventual self-reconciliation. It is important to notice that Bride
must feel secure in the presence of Booker in order to face her
past traumatic memories. This fits in Herman’s explication that
the “[a]s the survivor summons her memories, the need to
preserve safety must be balanced constantly against the need to
face the past” (203).
Thus, the final reconciliatory dialogue also helps Booker
correct his misunderstanding of Bride’s visit to Sofia, as he had
thought that she was “suck[ing] up to a monster” (153). Booker
explains to Rain why he left by telling her that his brother was
“murdered by a freak, a predator like the one [he] thought she was
forgiving” (154). Bride admits; “I lied! I lied! I lied! She was
innocent. I helped convict her […].” The poor child wanted her
mother to “look at [her] with proud eyes, for once” (153). Their
reconciliation meant the unburdening of their traumatic past of
child abuse: their loss of affection; their witnessing of other
children’s abuse and their coerced intimidation to hide the truth
about “things that happened, why [they] did things, thought
things, took actions that were really about what went on when
[they] were just children” (155). Having confessed her childhood
traumatic pain, Bride feels “newly born,” as she is no longer
“forced to relive, no outlive the disdain of her mother and the
abandonment of her father” (162). Furthermore, this eventual
reconciliation of the lovers brings to an end the magical

717
transformation in Bride’s body and the retrieval of her femininity

as she realizes the return of the “tiny holes” (169) in her earlobes
and the “magical return of her flawless breasts” (166). Bride’s
final announcement to Booker that she is pregnant with his child
marks off the end of their life-long traumas of child-abuse. They,
finally, say their vows to give their child what they were depraved
of: “A child. A new life. Immune to evil or illness, protected from
kidnap, beatings, rape, racism, insult, hurt, self-loathing,
abandonment. Error-free. All goodness. Minus wrath” (175).
In conclusion, God Help the Child is Morrison’s last and
strongest fictional message against the atrocities of child abuse—a
common theme that runs through her entire fictional canon. This
paper deals mainly with the recovery of the main characters from
the ailments of their traumatic past through a scheme of healing
narrative that follows the psychologically proven recovery stages:
finding safety, reconstructing memory and restoring connection
between survivors and their communities. The adoption of
postmodern narrative technique helped Morrison is voicing the
unspeakable truth of the atrocities of child abuse practiced against
children, especially in the Afro-American community as it is
doubly aggravated by racism and color shadism. The novel,
however, ends with a hopeful prayer “God help the child” (178).

718
Works Cited
Bakhtin, M. The Dialogic Imagination: Four Essays. University of
Texas Press, 1981.
-------------. Problems of Dostoevsky’s Poetics, In C. Emerson (Ed.),
Minneapolis: University of Texas Press (1981).
Caruth, Cathy. Unclaimed Experience: Trauma, Narrative and
History. Johns Hopkins University Press, 1996.
Online. Project MUSE, [doi:10.1353/book.20656.]
Edkins, Jenny. Trauma and the Memory of Politics. Cambridge:
Cambridge University Press, 2003.
Herman, Judith L. Trauma and Recovery: The Aftermath of Violence-
from Domestic Abuse to Political Terror. London:
andora, 1992.
[http://issuu.com]
Hopper, E., Grossman, F., Spinazzola, J., & Zucker, M. “Treating Adult
Survivors of Childhood Emotional Abuse and Neglect: A
New Framework.” [https://www.traumacenter.org]
Lanser, Susan Sniader. “Unspeakable Voice: Toni Morrison’s Postmodern
authority.” Fictions of Authority: Women Writers and
Narrative Voice, Cornell University Press, 1992, pp. 120–
38. JSTOR, Accessed 25 Nov. 2022.
[http://www.jstor.org/stable/10.7591/j.ctt207g6vm.10]
López Ramírez, Manuela. "“Childhood Cuts Festered and Never Scabbed
Over”: Child Abuse in Toni Morrison’s God Help the
Child." Alicante Journal of English Studies / Revista
Alicantina de Estudios Ingleses [Online], 0.29 (2016):
145-164.Web.24Nov.2022.

719
[https://doi.org/10.14198/raei.2016.29.08.]
Morrison, Toni. God Help the Child. New York: Vintage International,
2015.
-------------------. Unspeakable Things Unspoken: The Afro-American
Presence in American Literature. Mitchell, Angelyn,
editor. Within the Circle: An Anthology of African
American Literary Criticism from the Harlem Renaissance
to the Present. Duke University Press, 1994. JSTOR,
Accessed 25 Nov. 2022.
[https://doi.org/10.2307/j.ctv1134fjj.]
Muyumba, Walton. “Lady Sings the Blues.” The Atlantic. Apr. 23, 2015.
[https://www.scribd.com/article/389342080/Lady-Sings-
The-Blues]
Paul, Meenakshi F. and Khem Raj Sharma “Childhood Matters: The
Palimpsest of Retellings in God Help the Child.”
Authorspress, 2015. 352-85.
[https://www.academia.edu/33828821/Childhood
Matters The Palimpsest of Retellings in God Help the
Child]
Ramirez, Manuela Lopez. “‘Childhood Cuts Festered and Never
Scabbed Over’: Child Abuse in Toni Morrison’s
God Help the Child.” vol.29, 2016,
pp.145-164,
[https://raei.ua.es]

720
U.S. Department of Health & Human Services, Administration for

Children and Families, Administration on Children,
Youth and Families, Children’s Bureau. (2016). Child
maltreatment 2014.
[http://www.acf.hhs.gov/programs/cb/research-data-
technology/statistics-research/child-maltreatment]
Walker, Kara. “Toni Morrison’s God Help the Child” The New York
Times. Online. April 13, 2015.
https://www.nytimes.com/2015/04/19/books/review/toni
morrisons-god-help-the-child.html]

721
‫مج ‪ ،15‬ع‪( 1‬يناير) ‪2023‬‬ ‫( اللغويات والثقافات المقارنة)‬ ‫مجلة كلية اآلداب جامعة الفيوم‬
‫الملخص‬
‫تناولت الكاتبة تونى موريسون بتوسع و على نحو مطرد فى نتاجها األدبى التجارب‬
‫المعتدى عليهم‪ .‬و أعتمدت موريسون‪ ،‬الكاتبة األفريقية األمريكية على‬

‫الصادمة لألطفال ُ‬
‫آليات السرد ما بعد الحداثية لكي تتخطى معضلة كونها الكاتبة األفريقية التى ينتمى السواد‬
‫األعظم من قراءها إلى عموم الثقافة األمريكية البيضاء‪ .‬و يهدف هذا البحث إلى دراسة خطة‬
‫آليات السرد التى اتبعتها موريسون فى تذكر صدمة االطفال األفارقة االمريكيون و افشاء‬
‫اسرارها و التعافى منها فى روايتها األخير "فليكن اهلل فى عون الطفل" (‪ .)4102‬و يقوم هذا‬
‫البحث على فرضية أن موريسون تتبنى منهجية سردية ما بعد حداثية فى تأليف روايتها‬
‫األخيرة معتمدة فيها بشكل أساسي على تعددية األصوات السردية بشكل حواري تتناغم فيه‬
‫أصوات السرد الذاتية داخل الشخصيات الرئيسة مع بعضها البعض فى مقابلة مع صوت‬
‫الراوى الذى يحكي قصصهم‪ .‬كما تعتمد فرضية هذا البحث على فكرة ان خطة موريسون‬
‫السردية من الممكن تقفي أثرها فى نظرية علم النفس التى تفيد بأن طريق التعافى من صدمة‬
‫التعدي على األطفال مرهونة بشرط التخلص من ذكرى تلك الصدمة عن طريق السرد‪.‬‬
‫الكلمات الرئيسة‪ :‬االعتداء على األطفال‪ ،‬الصدمة ‪ ،‬السرد ما بعد الحداثي ‪ ،‬تعددية‬
‫األصوات ‪ ،‬جوديث هيرمان‪ ،‬التعافى‪ ،‬الواقعية السحرية‪ ،‬الزماكانية‬
‫‪(God Help the Child (2015)...)Dr. Ahmed AL-Kahky‬‬

‫‪722‬‬

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2023 )‫ (يناير‬1‫ ع‬،15 ‫مج‬ )‫( اللغويات والثقافات المقارنة‬ ‫مجلة كلية اآلداب جامعة الفيوم‬

God Help the Child (2015):

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

The 1993 Nobel Laureate Toni Morrison dealt pervasively and

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

elaborates, it is a moment in which the narrator as a

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

cases the objectified victims of racial projection at the hands of

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

more the focus of clinical and research attention

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

This paper aims at investigating Toni Morrison’s narrative

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

of narrative foci through its various characters; as a result,

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

The first part of the novel consists of nine narrative segments

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

to the courthouse to get married to Sweetness’s father they found

Having black skin in this racial society meant being “spit on in a

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

her to call me “sweetness” instead of “Mother” or “Mama.” It was

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

[R]ecovery unfolds in three stages. The central task

It is, therefore, an essential prerequisite for the traumatized victim

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

life was void of emotional gratification. She says that her

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

Sweetness’s following monologue in the first part of the

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

known to always cross the street and avoid white

Remarkably, Sweetness’s monologue includes her account of

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

narrative focalization that aims at a wider scope of the revelation

Bride had to suffer parental rejection and maltreatment—both are

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

traumatized child’s psychopathic self-laceration in his/her will to

A second horrendous shameful regret Bride had to suppress

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

hypothesized hyperbole above. With this horrible crime being

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

immediate victim. In his Trauma and the Memory of Politics,

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

when it comes to her promiscuous sexual relationships. It is

Sofia’s narrative homodiegetic monologues are only

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

narrative accounts of Sweetness, Bride and Brooklyn is repeated

In two homodiegetic narrative chapters in the first and

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

The second part of the novel includes two chapters in the

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

mother’s house: she feels “[d]ismissed” and “[e]rased” (38). It is

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky

“lashed” across Mr. Humboldt’s back as he heard that an African

(God Help the Child (2015)...)Dr. Ahmed AL-Kahky