"synopsis" may belong to another edition of this title.
Paradise actually begins with the arrival of these vigilantes, only to launch into an intricate series of flashbacks and interlaced stories. The cast is large--indeed, it seems as though we must have met all 360 members of Ruby's populace--and Morrison knows how to imprint even the minor players on our brains. Even more amazing, though, are the full-length portraits she draws of the four Convent dwellers and their executioners: rich, rounded, and almost painful in their intimacy. This richness--of language and, ultimately, of human understanding--combats the aura of saintliness that can occasionally mar Morrison's fiction. It also makes for a spectacular piece of storytelling, in which such biblical concepts as redemption and divine love are no postmodern playthings but matters of life and (in the very first sentence, alas) death.
"Toni Morrison's speaking voice contains the same musicality as her prose, and the combination of the two results in a nearly sublime experience."
- The Chicago Tribune
". . . it's a storyteller's voice - older than sound recording, older even than print itself."
-The Trenton Times
"Morrison's remarkable talent for storytelling naturally lends itself to the spoken word."
- The Arizona Republic
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