Quotes from Toni Morrison

You're in trouble,' she says, yawning. 'Deep, deep trouble. Can't rival the dead for love. Lose every time.

Daily life took as much as she had. The future was sunset; the past something to leave behind. And if it didn't stay behind, well, you might have to stomp it out.

There is honey in this land sweeter than any I know of, and I have cut cane in places where the dirt itself tasted like sugar, so that's saying a heap.

Risky, thought Paul D, very risky. For a used-to-be-slave woman to love anything that much was dangerous, especially if it was her children she had settled on to love. The best thing, he knew, was to love just a little bit; everything, just a little bit, so when they brok its back, or shoved it in a croaker sack, well, maybe you'd have a little love left over for the next one.

They shoot the white girl first, but the rest they can take their time.

I thought of muses as inventions to protect one's insight, to avoid questions like Where do your ideas come from? Or to escape inquiry into the fuzzy area between autobiography and fiction.

I think women dwell quite a bit on the duress under which they work, on how hard it is just to do it at all. We are traditionally rather proud of ourselves for having slipped creative work in there between the domestic chores and obligations. I'm not sure we deserve such big A-pluses for all that.

I am really Chloe Anthony Wofford. That's who I am. I have been writing under this other person's name. I write some things now as Chloe Wofford, private things. I regret having called myself Toni Morrison when I published my first novel, The Bluest Eye .

It was a silly age, twenty-five; too old for teenaged dreaming, too young for settling down. Every corner was a possibility and a dead end.

These and other inanimate things she saw and experienced. They were real to her. She knew them. They were the codes and touchstones of the world, capable of translation and possession. She owned the crack that made her stumble; she owned the clumps of dandelions whose white heads, last fall, she had blown away; whose yellow heads, this fall, she peered into. And owning them made her part of the world, and the world a part of her.

But stars can explode, disappear. Besides, what we see when we look at them may no longer be there. Some could have died thousands of years ago and we're just now getting their light. Old information looking like news.

She missed -- without knowing what she missed-- paints and crayons

She knew Paul D was adding something to her life—something she wanted to count on but was scared to... His waiting eyes and awful human power. The mind of him that knew her own. Her story was bearable because it was his as well—to tell, to refine and tell again. The things neither knew about the other—the things neither had word-shapes for—well, it would come in time.

Her heart kicked and an itchy burning in her throat made her swallow all her saliva away. She didn't know which way to go.

I didn't even know his name. And if I didn't know his name then there is nothing I did know and I have known nothing ever at all since the one thing I wanted was to know his name so how could he help but leave me since he was making love to a woman who didn't even know his name.

It is this rattling I believe that affects the second point: our uneasiness with our own feelings of foreignness, our own rapidly fraying sense of belonging. To what do we pay greatest allegiance? Family, language group, culture, country, gender? Religion, race? And if none of these matter, are we urbane, cosmopolitan, or simply lonely? In other words, how do we decide where we belong? What convinces us that we do? Or put another way, what is the matter with foreignness?

We had defended ourselves since memory against everything and everybody, considered all speech a code to be broken by us, and all gestures subject to careful analysis; we had become headstrong, devious, and arrogant. Nobody paid us any attention, so we paid very good attention to ourselves. Our limitations were not known to us—not then.

I'll tend to her as no mother ever tended a child, a daughter. Nobody will ever get my milk no more except my own children. I never had to give it to nobody else--and the one time I did it was took from me--they held me down and took it. Milk that belonged to my baby.... I know what it is to be without the milk that belongs to you; to have to fight and holler for it, and to have so little left.

But then Job was a man. Invisibility was intolerable to men. What complaint would a female Job dare to put forth? And if, having done so, and He deigned to remind her of how weak and ignorant she was, where was the news in that? What shocked Job into humility and renewed fidelity was the message a female Job would have known and heard every minute of her life.

Certain kinds of trauma visited on peoples are so deep, so cruel, that unlike money, unlike vengeance, even unlike justice, or rights, or the goodwill of others, only writers can translate such trauma and turn sorrow into meaning, sharpening the moral imagination.

The last of her children, whom she barely glanced at when he was born because it wasn't worth the trouble to try to learn features you would never see change into adulthood anyway.

We are traditionally rather proud of ourselves for having slipped creative work in there between the domestic chores and obligations. I'm not sure we deserve such big A-pluses for all that.

Like many of us left here, I thought I knew you. Now I discover that, in your company, it is myself I know. That is the astonishing gift of your art and your friendship: you gave us ourselves to think about, to cherish.

What she called the nastiness of life was the shock she received upon learning that nobody stopped playing checkers just because the pieces included her children.