Unconscious Oppression and Violence in Paradise by Chelsea Fetch Throughout Toni Morrisons Paradise, women in both the Convent

and Ruby are objectified, controlled, and abused by the men around them. The Convent women are prime examples of this; each has had their own experience with heartache, abuse, rape, and betrayal. However, the women of Ruby are not free from control and oppression; congruent with Freudian psychology, the men of Ruby are driven to do their best to dominate their wives and daughters sexuality and daily lives to keep their own unconscious aggression and lust in check. Through sexual abuse and oppression, the men of Paradise objectify women and retain patriarchal control of themselves and the people around them. The unconscious drive mentioned comes directly from Freudian psychology. According to Freuds Dynamic Model, the mind is broken up into two partsthe conscious and the unconscious (Bressler 144). In this basic model, the unconscious is driven by two basic instincts. One is the sexual instinct, or libido, and the other is the aggressive instinct (Bressler 144). Though Freud believed that these two instincts can work together, more often they were in conflict with each other (Bressler 144-5). Throughout Paradise, many of the male characters appear to follow this model of Freudian psychology; they either exhibit sexual drives or violence, using one of each to objectify women. On one hand, the women of the Convent are sexually objectified; on the other hand, most men of Ruby are able to control their unconscious, though their aggressive instincts filter through, culminating in their decision to raid the Convent. The Convent and the women in it are all victims of the unconscious sexual instinct. As Peter Kearly notes in his article on Paradise, the women are reduced or oppressed in various ways: Mavis is reduced to a criminal, insane, infant-killer, Grace reduced to a slut, Seneca reduced to a masochist, and Pallas reduced to a dyke in the patriarchal language of non-acceptance (13). The Convent itself is a mansion made to satisfy one mans lust. Though the nuns did their best to rid obscenities, hints still

Fetch 2 remain: nipple-tipped doorknobs, nude statuary, male genitalia that had once formed faucets and knobs, and alabaster vaginas that served as ashtrays (Morrison 72). Many of these fanciful and erotic artifacts are literally objectifying women, a fitting symbol of what happens to the women at the Convent. This symbolism makes the Convent an appropriate temporary refuge created by an inclusive, disparate group of women (Daemmrich 224). Each of the Convent women was subjected to the unbridled lust of men unable to control their unconscious. Mavis, originally a married woman with children, was a slave to her husbands will. She often felt a familiar fright when her husband climbed into bed with her, and she worried about making a meatloaf perfect enough that it will please him (Morrison 25). However, for all her work to please him, Frank raped his wife before going to sleep at night. Because Mavis often wondered about how quick he will be that night, it can be assumed that this is not the first time Mavis has been raped by her own husband (Morrison 26). Later, Mavis describes sex with her husband as a required torture, longer but not much different from being slapped out of her chair (Morrison 171). Consistent with Freudian psychology, Frank lets Mavis be the sexual outlet of his unconscious, whether or not she is willing. The particular night written about in the book is the breaking point for Mavis; she is finished with the abuse she endures from her husband and even her own children, and she runs away. The next of the women to end up at the Convent, Gigi is also an object of lust, and to more than one man. Even from the first description of Gigisuppose her navel had not peeked over the waist of her jeans or her breasts had just hushed, hushed for a few secondsshe is objectified as a thing of visual pleasure and lust (Morrison 54). Even Gigis quest to find the lovemaking couplewhether it is a rock formation or a treeshows that she is searching for something more than the use and abuse she receives from lying men and loveless relationships. In short, Gigi wants to find proof that there is love in the world. For K.D., Gigi becomes an outlet for his uncontrollable lust when Arnette is gone. When Gigi

Fetch 3 finally breaks off the relationship, K.D.s unconscious immediately turns to violence, hitting Gigi and causing the other Convent women to force K.D. out (Morrison 256). Interestingly, Seneca differs slightly from the other Convent women. Seneca is victim to three peoples unconscious drives: Normas, her foster brothers, and her own. What makes Senecas situation different is that she is objectified by both men and women. Norma is a woman Seneca only knew for three weeks; the stranger paid Seneca to live with her, doing whatever she asked. It is never expressly stated what Seneca goes through at this womans house, other than a vague description of humiliation [that] made surrender deep, tender. Long-lasting (Morrison 137). Long before this, Seneca is the victim of her foster brothers desires. As he took her clothes off to rape her, he accidently cuts her, causing both of his unconscious instincts of lust and aggression to work together to feed his actions (Morrison 260). Incidentally, this also begins Senecas abuse of herself; this cut caused her unconscious aggressive desires to influence her into cutting herself. In the end, Seneca stops cutting herself, but her aggressive unconscious still encourages her to mark the open body lying on the cellar floor (Morrison 265). As for Pallas, the man she thinks is her boyfriend uses her. Carlos, for all his charm and gentlemanly actions, is driven by his unconscious, ultimately betraying Pallas by sleeping with her own mother. He does this even after telling her that they should wait for marriage to have sex (Morrison 167). Because Pallas turns out to be pregnant, and she never reveals the father of her child, it can either be presumed that Carlos ultimately had sex with her, or that she was raped while hitchhiking. Either way, Pallas, like the other Convent women, has been used as an object of mens libido. Pallas differs from Arnette, the only other girl to show up at the Convent pregnant, because she decides to keep and love her child instead of getting rid of him. Similar to what happens to Pallas, Consolata is sexually used by someone she loves. She and Deacon Morgan have a long-time affair, meeting every Friday to make love (Morrison 230). Consolata is

Fetch 4 not raped; as a matter of fact, she seems to truly love Deacon. However, when she begins to make longterm plans and share them with him, like her suggestion that he visits her in a small room in the cellar or a home away from home where they can almost be a family, Deacon breaks off the affair (Morrison 237). Ultimately, Deacon used Consolata as an outlet for his sexual drive, which he admits to Reverend Misner, speaking of a woman he had used; how he had turned up his nose at her because her loose and easy ways gave him license to drop and despise her (Morrison 302). Though many of the men the Convent women encountered are primarily driven by their unconscious sexual desires, the men of Ruby are very different. Though there are some exceptions K.D. and Deacon, for examplemany of Rubys males struggle solely with their aggressive instincts. Ingrid Daemmrich makes an excellent point in writing that the novel opens with male aggression (23). Unlike the victimizers of the Convent women, who were unable to control their sexual instincts, the men of Ruby are much more controlled and practiced. They work hard not to let their violent subconscious influence them; at least, not in ways that would harm another person. In the end, however, despite their attempts to keep their aggression in check, nine men make a decision to massacre women, a choice no doubt influenced by their unconscious. K.D. and Deacon, as mentioned earlier, both submit their sexual instincts, at least for a while. For K.D., the two primordial instincts work as enemies of each other, one always more influential than the other. Even at the beginning of the novel, K.D. struggles with his libido and violent tendencies. Described as a handsome man, K.D. is not the chaste, hard-working young man his uncles would like him to be. Instead, he would more than likely be called a ladies man. Perhaps K.D.s increased libido has such influence over him because he never was a military man, as Jeff Fleetwood loves to remind him; there was no violence for his aggressive instinct to feed on, so his sexual instinct took over (Morrison 156). Whatever the reason, K.D. has propositioned Billie Delia before and after his thing with Arnette,

Fetch 5 has gotten Arnette pregnant, had an all-sex relationship with Gigi, and chased any dress whose wearer was under fifty (Morrison 152). But, even K.D.s two unconscious instincts are at war with each other; he not only publicly slaps Arnette, spurring a tense rivalry between the Morgans and the Fleetwoods that begets more violent actions, but he also strikes Gigi (Morrison 55, 256). Finally, because K.D. takes a part in the Convent raid, his destructive instinct ultimately wins over. Each time one of K.D.s instincts influences him, he hurts, uses, and objectifies at least one woman, which could parallel him to each of the men who hurt, betray, and rape the Convent women. Because of his willingness to sexually use and physically abuse women, the young man obviously does not perceive women as equal to men. Similar to his nephew, Deek Morgan conflicts with both his sexual instinct and his aggressive instinct. Deacons affair with Consolata shows that he has trouble controlling his sexual unconscious. When Consolata bites his lip, the deciding point for Deek that the affair is over, the situation is similar to when Senecas foster brother forces himself upon her. Consolata, at first, is excited by her risky action of drawing blood from her lover, just as the foster brother grew excited when he accidently cut Seneca. Deacon, instead of being driven by his own aggressive unconscious like Seneca, is first startled, then revolted at what Consolata has done (Morrison 239). A war veteran, Deacon is not a stranger to violence. After this point, Deacon does his best to try and control his unconscious, though he does not completely succeed. The aggressive instinct still influences Deek, who gets up early in the morning to hunts quail to keep his own [head] from exploding (Morrison 104). Even though he thinks about it as a necessary therapy, he still gets satisfaction knowing that later today, quail without their brains would melt in his mouth (Morrison 107). Deeks twin, Steward, is another example of a man struggling with his unconscious urges. However, Steward is different than Deek, K.D., or the oppressors of the Convent women, because his unconscious instincts are not conflicting with one another. Rather, Stewards aggressive instinct seems

Fetch 6 to be the one always influencing him. In contrast with his twin, Steward is much more vocal and frank when something provokes his aggressive instincts. When Delia, a lighter-skinned woman, was first introduced to the town, Steward was the first to speak, saying Hes [Menus] brining along the dung we leaving behind (Morrison 201). When Reverend Misner attempts to raise money for black boys wrongfully imprisoned, Steward refuses to give money to little illegal niggers with guns and no home training (Morrison 206). However, Steward is the one who carries a gun and embodies a spirit of military aggression (Keller 49). As a matter of fact, Steward seems to be the instigator of the nine men who raid the Convent, and is also the first one to pull the trigger. He and his brother are, after all, not only the town of Rubys civic leaders but its financial leaders as well (Jenkins 284). Steward perhaps used this upper hand to persuade the other men. Lone notes how Steward seethed at the thought of that barely averted betrayal of all they owed and promised the Old Fathers, referring to Stewards knowledge of his brothers affair with Consolata (Morrison 279). For years, Steward has let anger and aggression build inside him, until all [he] needs to see are her sensual appraising eyes to pull the trigger again (Morrison 285). All the men taking part in the raid experience both parts of their subconscious working harmoniously at that point. Once the first woman is shot, they are startled, but not deterred from stepping over her, then begin fondling their weapons, feeling suddenly so young and good they are reminded that guns are more than decoration, intimidation or comfort (Morrison 285). These lines point to both male bonding and the sexual rush of war, violence, and power, resulting in an influence from both primordial instincts (Keller 52). Being an exclusive male group, bonding as if soldiers in unit, separates them from the women, helping the men detach themselves from the immorality of the illogical act they are performing. Furthermore, the town of Ruby is under a patriarchal control. The men of the town, depicted as naturally, irredeemably sexist and violently domineering control their wives, who are regarded as

Fetch 7 silent, supportive partners, but the children of the town as well (Read 527, Daemmrich 225). The Oven is an excellent example; what once were words to threaten those who disallowed Rubys citizens has evolved in intention to now mean Beware the Anger of our Patriarchs (Keller 50). Any sort of change or rebelling in the younger generation is viewed as subversive by the men in control (Daemmrich 225). After all, when the youth of the town suggest it be changed, Steward threatens rather violently if you, any one of you, ignore, change, take away, or add to the words in the mouth of that Oven, I will blow your head off just like you was a hood-eye snake (Morrison 87). As another example, Arnette, who ends up pregnant from K.D., rushes off to the Convent to abort herself with the gusto and intention of a rabid male (Morrison 250). For the Fleetwoods, Arnettes pregnancy are deeply shameful, unmanly failings and her fear at facing her father, brother, and the town as an unwed mother drive her to kill her own child (Read 533). Though no one orders Arnette to get rid of her child, she apparently found it necessary to find a means to dispose of it and blame her actions on the Convent, just to be able to marry K.D. and continue living in Ruby without the stigma of being the fastest girl in town and speeding up by the second, like Billie Delia (Morrison 59). According to Read, Arnettes promiscuity in part is the fault of her brother and father, who havent given Arnette tasks considered to be appropriate female behavior, leaving no opportunity for immoral activity (536). Though the men of the town exert so much energy trying to keep their wives and daughters from the temptation of promiscuity, the same rules obviously do not apply to them, since Deacon and K.D. both have multiple sexual partners. Even before this, the patriarchs of Ruby overrule the women and allow Delia to die simply because her skin represents racial tampering, which reminds the 8-rocks not of intraracial betrayal but of interracial oppression (Jenkins 278). Before the Convent women had come, the men were already willing to sacrifice a life. Overall, Paradise is a very interesting and complicated novel, with many different themes and interpretations. As many critics and feminists are wont to point out, the novel is ripe with evidence of

Fetch 8 sexism, including a controlling, patriarchal structure in Ruby, submissive and silent wives, and various forms of rape and abuse amongst the Convent women. Both the men of Ruby and the men the Convent women encounter have parts in objectifying women, and exerting some sort of control over them in response to their unconscious influences. Using Freuds Dynamic Model, the unconscious influences of the sexual instinct and aggressive instinct help account for most of the violence and abuse performed by the men in the novel.

Fetch 9 Works Cited/Annotated Bibliography

Bressler, Charles E. Literary Criticism: An Introduction to Theory and Practice. 4th ed. Upper Saddle River: Pearson Education, Inc, 2007. Print. In specific, I will be using Chapter 6, which is about psychoanalytic criticism. Basically, Bressler gives a very detailed history and explanation of various criticisms. For psychoanalysis, I will be focusing on Freud. For my paper, I intend to focus on Freuds Dynamic Model of the human psyche, to show that the men in Ruby are unconsciously driven by aggression and a sexual drive.

Daemmrich, Ingrid. Paradise and Storytelling: Interconnecting Gender, Motif, and Narrative Structure. Narrative. 11.2 (2003): 213-233. Project Muse. 6 Dec. 2010. Daemmrichs article analyzes the motifs and clichs of most stories, novels, and narratives dealing with paradise. She begins with a long description of the motifs of these types of stories, beginning with Greek Mythology, and analyzes the various gender stereotypes and symbolism throughout all of them. The article compares Ruby and the Convent as two separate paradises, thus pitting the two conflicting visions of paradise against each other. She compares the patriarchal and rigid structure of the town to the temporary womens haven that is the convent, contrasting the motivations of the men of Ruby with the women. She does not give very many details or textual suppor, nor does she discuss Paradise throughout, but the information she does have about gender motifs will be very useful to my paper, especially when I compare the two genders and their sexuality. I can even use it to help support the psychoanalytic aspect of my work.

Keller, Delores A. "Toni Morrison's Sermon on Manhood: God in the Hands of Nine Angry Sinners." Midwest Quarterly 51.1 (2009): 45-56. EBSCO MegaFILE. EBSCO. Web. 7 Dec. 2010. This article focuses on the men of Ruby, specifically Deacon and Steward. Keller calls Paradise a sermon on manhood, comparing it to Jonathan Edwards Sinners in the Hands of an Angry God sermon. Because the author provides plenty of detail about what might have driven the men of Ruby to kill the Convent women, as well as their oppressive attitudes towards the Convent women, this article is valuable when discussing a psychoanalytic approach to the mens violent behavior. Keller briefly mentions that the nine men invading the Convent experience a sort of sexual energy at the thought of impending violence (52), which provides pivotal support for my paper. This article, however, does little to talk about the women in Ruby and their relationships to the men.

Morrison, Toni. Paradise. N.p.: First Plume Printing, 1999. Print.

Read, Andrew. As If Word Magic Had Anything to Do with the Courage it Took to Be a Man: Black Masculinity in Toni Morrisons Paradise. African American Review 39.4 (2005): 527-50. EBSCOhost. Web. 23 Nov 2010.

Fetch 10 This article goes very in-depth with what masculinity means in the town of Ruby, and the various ways the men of Ruby try to meet the standards of others. For example, Read compares the way the men of Ruby act to the stereotypical American Dream white male. The article also discusses stereotypes and unspoken rules in Ruby. Furthermore, Read discusses the outbursts of violence the men of Ruby display, and the patriarchal desire to control the womens sexual lives. I will use this to help support my claims on the mindset of the men, and their unconscious drive towards violence. The idea of the men controlling Ruby womens sexuality is also a very interesting concept that I can tie into my thesis and the Freudian analysis.

Kearly, Peter R. "Toni Morrison's Paradise and the Politics of Community." The Journal of American Culture 23.2 (2000): 9-16. E-Journals. EBSCO. Web. 23 Nov. 2010. Kearlys primary purpose in this article is to analyze Paradise and encourage readers who may have shunned the novel to take a second look. This article gives a different look at why men control the society in Ruby. The author talks about men controlling religion in all of history, analyzes misogyny in the towns culture, and interestingly talks about the womens attitudes towards men. The author discusses logic, including the mens logic of control and punishment, and the Convent womens logic of healing and sexual expression independent of male authority. Especially on page 13, Kearly analyzes the sexual abuse the Convent women have suffered, and discusses the psychology of an abused woman. I can use this to not only further explain the male control of the town, but discuss how the women of Ruby and the Convent react to the treatment they receive. The summarization Kearly gives of the sexual abuse the women have suffered will not only be a good reference, but also provides new ideas.

Jenkins, Candice. "Pure Black: Class, Color, and Intraracial Politics in Toni Morrison's Paradise." MFS Modern Fiction Studies 52.2 (2006): 270-96. Project MUSE. Web. 23 Nov. 2010. This article discusses race and the idea of an all-black society. There are many examples of the Blood Rule of Ruby, as well as noting the actions of lighter-colored blacks and whites that appear in the novel. Though the article focuses on race, not gender, Jenkins does point out various gender differences in Ruby, especially pages 278-80. What makes this article a great asset to my essay is that it discusses sexism in terms of color; the way characters are shunned and deemed as less important not only for their sex but because they are not 8-rocks. On page 280, Jenkins also mentions and analyzes the assumed sexual depravity of women who are lighter-skinned, which will help support my claim that the women of Ruby are sexually abused in ways other than physical assault and rape.