Paradise

by

Toni Morrison

Paradise: Seneca Summary & Analysis

Summary
Analysis
A few years later, Dovey Morgan worries about what she can make for dinner that will satisfy her “picky” husband. She is married to Steward Morgan, and her sister Soane is married to Deek. When Dovey thinks of Steward, she always thinks of him in terms of his losses. Contrary to the town’s assessment of him (and his own assessment of himself), “the more Steward acquired, the more visible his losses.” He has had success in business, but his contempt for the Civil Rights Movement of the 1950s and 1960s ended his political aspirations; his decision to drill for natural gas cost the Morgans’ ranch its beauty; and after 15 years of marriage, he and Dovey learned they could never have children. Now he is losing a fight with Reverend Misner about the words on the Oven.
The Morgan brothers married a pair of sisters, highlighting how intertwined the families of Ruby are. Dovey’s view of her husband provides the reader a new perspective on Steward, who has so far only been seen as a stalwart leader of the community. While he is a powerful man, he has also suffered losses––perhaps most impactful is the loss of a perspective son to carry on the Morgan line. Because Steward and Dovey are unable to have children, Steward takes K.D. under his wing, despite K.D.’s failure to live up to the Morgan name.
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The conflict over the Oven is worsened by Ruby’s young people “acting up,” though no one is willing to acknowledge the problem openly. Arnette is home from college and won’t leave her bed, Roger Best’s granddaughter Billie Delia has disappeared, a young man named Menus Jury has become an alcoholic after serving in Vietnam, Sweetie Fleetwood’s mental health is worsening, and K.D. continues his relationship with Gigi. Dovey discusses these issues, and the general disrespect of the youth, with other prominent women in town.
This story is one of community, and every member of the town is important to how the community functions (or fails to function). As the narrative progresses, the problems of each of these young people will contribute in some way to the eventual massacre on the Convent. Discontent is brewing in Ruby, exacerbated by a generational divide. Only the women are willing to discuss the issue, but they lack the status to force Ruby into open discussion about the community’s growing gaps.
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Reverend Misner holds an assembly to discuss the words on the Oven. A fragment has worn away, leaving only “…the Furrow of His Brow.” The older generation believes the message originally read “Beware the Furrow of His Brow,” but the young people insist that no freedman would advocate for cowardice. They believe the initial engraving was “Be the Furrow of His Brow.” Deek and Steward, along Harper Jury (another Ruby founding father) and the conservative Reverend Pulliam, argue that the young people should respect their elders’ history. The young people argue that Ruby’s history belongs to them as much as it does the older generation. Steward ends the debate by threatening to shoot anyone who tempers with the Oven.
The debate over the Oven represents the broader generational divide in Ruby. The founding fathers, who are only one or two generations removed from slavery, believe continuing Ruby’s isolation will protect its citizens and keep them on the “narrow [...] path of righteousness” that Zechariah spoke of when he first installed the Oven in Haven. The young people, on the other hand, have come of age during the Civil Rights Movement and believe in the virtue of rebellion and direct action against white supremacy.
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Quotes
Dovey does not know which side of the debate she supports, so she resolves to bring the matter to her “Friend.” The story flashes back to Dovey’s first encounter with her Friend, which is preceded by a mass of orange butterflies taking flight from a garden. Gardens became popular in Ruby in the early 1960s, when women had the time and prosperity to devote their attention to purely decorative plants. She believes the butterflies to be a sign, and later, Dovey sees an unfamiliar young man walk through the same yard. They exchange a brief conversation, and after he leaves, Dovey forgets to ask anyone if they know him. After a while, she decides to keep the young man her secret. They continue to see each other in the garden where they met, and with her Friend, Dovey feels free to “talk[] nonsense.”
Though citizens of Ruby are generally wary of outsiders, Dovey finds solace in the unfamiliarity of her “Friend.” Because he is disconnected from Ruby’s repressive society, she can speak openly with him without worrying about her reputation. She does not automatically agree with her husband’s side of the Oven debate, but she does not trust herself to form an opinion without her Friend’s input. He grants her the freedom to indulge in “nonsense,” so she can share her thoughts even if she is unsure of them.  
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Meanwhile, Steward rages about the younger generation’s disrespect. He believes they have no idea what their elders have done for them, unlike Steward’s generation, which respected their elders and met their high expectations. Steward recalls an incident his brother Elder told him about: in 1919, in Hoboken, Elder witnesses two white men harass a Black sex worker. At first he relates to the men, since he holds contempt for sex work, but when one of the men attacks the woman, Elder’s mindset shifts to one of racial solidarity. He defends the woman, driven by the normalization of violence he experienced in the military, but when a crowd calls for the police Elder flees. He regrets running away, and he prays for that woman for the rest of his life. Steward likes this story, but he feels a connection to the white men and can imagine himself punching a “whore.”
When Elder witnesses the attack, his immediate allegiance is one of gender. The sex worker does not conform to his notion of a worthy woman, so he condones the men’s treatment of her. When their abuse becomes physical, however, he stops perceiving the situation along gendered lines and sees it instead as racial. Once Elder devotes his loyalty to the sex worker as a fellow Black person, he adopts the mindset of most Ruby men, which dictates that Black men are obligated to protect Black women. His two incompatible perceptions of the same event betray Elder’s lack of understanding about the way racial and gendered bigotry feed into each other. Steward’s reaction to the story also reveals how intense his misogyny is, as his hatred of nonconforming women is strong enough that he might sympathize with the white men he loathes.
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Quotes
Steward arrives at home and thinks of the story his grandfather Zechariah told him about founding an all-Black town. One of the driving reasons was the humiliation the men felt at being unable to protect their wives, sisters, and daughters from racism. When the Morgans and the other founding families went West in search of land, Zechariah saw a small man with heavy footsteps walking along with them. The man appeared intermitted, and when he set down his pack, he disappeared. That is the spot where Zechariah chose to found the town, though he had to negotiate for over a year with the Native American family who owned the land. In this place, freedom becomes “a test” that “a man ha[s] to take for himself every day.”
As seen from the very first chapter, the men of Ruby pride themselves on their ability to protect the town’s women. This pride comes from the previous generation’s shame at failing to do just that. Because racism robbed Black men of the power to exert patriarchal control, now that they have built a community free of racism, they eagerly enforce that patriarchy. For the community of Haven, freedom has never been a guarantee. The town’s founding makes freedom within reach, but men still must earn and “take” it. Steward does not consider whether women may take freedom for themselves.
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Meanwhile, Soane secretly steeps a tonic that Connie has prepared for her. The tonic eases the grief that has threatened to consume Soane since both her sons died in the war. She had been proud when they enlisted; they carried on a family legacy, and she believed war overseas was safer for her boys than any American city. Soane thinks about the Oven, which has recently been graffitied with an image of a black fist with red fingernails. No one has claimed responsibility for painting it, but no one removed it, either, until several days later, when two local women––Kate Golightly and Anna Flood––did so themselves. 
The black fist graffitied on the Oven is the symbol of the Black Power movement, a multifaceted political movement that rose to prominence in the late 1960s and early 1970s, when the book is set. The presence of the Black Power fist in Ruby highlights the young people’s desire to join the national fight for civil rights, which conflicts the older generation’s belief that Ruby should remain isolated. The fact that the fist was drawn on the Oven, a symbol of community, also emphasizes how this generational debate is damaging Ruby’s unity. The addition of red fingernails to the fist also suggests femininity in the form of nail polish, suggesting that the artist specifically advocates for the empowerment of Black women.
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Soane recalls the first time Connie made her a tonic, 19 years ago, after she miscarried due to a “sin.” She reflects that the Oven has “no real value,” since Ruby does not need a communal place to cook the way Haven did. When the men brought the Oven to Ruby, the women “privately resented” the prioritization of a symbol over something practical. At the meeting that night, the young people suggested giving the Oven an African name. Soane has little interest in Africa, but the young people discuss Africans as if they are family. One young man implies that the old way of dealing with white people is weak and unmanly. He advocates for confronting white people rather than avoiding and outsmarting them.
The young people’s interest in Africa reflects the renewed interest in Pan-Africanism that occurred in the 1960s and 70s. Pan-Africanism is a school of thought that unites all people of African ancestry, and the young people’s interest in Pan-Africanism adds another element to their desire to break Ruby’s isolation. Soane also provides a new perspective on the Oven: while the men of Ruby view it as a symbol of community and legacy, to the women, the Oven represents their opinions being overruled before the town was even founded.  
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Quotes
Deek comes home and expresses his frustration at the financial stagnation of Ruby, prompting Soane to silently wonder why he doesn’t simply help his friends who need help. Deek also voices concern that Soane is too partial to the women who live in the Convent.
Deek has suffered as a Black man in America enough to distance himself from the nation and instead pledge his loyalty to Ruby. Despite this, he perpetuates the American obsession with self-sufficiency and independence, refusing to provide aid to his neighbors when doing so would revitalize Ruby’s economy.
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Every day, Deek drives a short distance in his black sedan, which he is overly proud of. On one occasion, he remembers a day in 1932 when his father brought young Deek and Steward on a tour of all-Black towns. By this time, many of the towns were failing, but Haven and some others still prosper. In one of these prosperous towns, Deek and Steward watch 19 delicate and beautiful Black women pose for photographs in light summer dresses. Deek still holds the image of these women in his mind.
The 19 Black women the twins see as children permanently influences their opinion of what women should be. Deek treasures the memory of these women, whose fragility affirms his impulse to protect them and whose beauty indulges his sexual desires. The women are posing for photographs, inviting men to admire their beauty, but they are also dressed in tasteful summer dresses, so they do not present as openly sexual.
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The morning after the meeting about the Oven, Deek drives to the bank, taking in the prosperity of Ruby, which in his mind justifies moving the Oven from Haven. He worries about Soane, and wonders whether the body bags which contained his sons’ body parts might have held any parts of white soldiers. Their deaths leaves K.D. the sole Morgan heir. Deek misses K.D.’s mother Ruby and regrets that he and Steward failed to protect her in her final moments––she died because every hospital they visited denied care to a Black patient. Deek wonders if they should have supported K.D.’s relationship with Arnette, who later visited the Convent and returned no longer pregnant and without a baby. Deek arrives at the bank and sees Sweetie Fleetwood walking alone without a coat. Though she has not left the house in years, Deek doesn’t go after her. Instead, he opens the bank on time.
This insight into Deek’s psyche proves that he is more complicated than the archetypal patriarch. He grieves his sons, and his fear that they might be buried with white body parts foreshadows the town’s fixation on racial purity that comes up later in the book. Deek also grieves his sister, who is yet another Black woman that the men of Ruby failed to protect against the institutions of white supremacy. Despite his professed desire to protect his community’s women, Deek makes no effort to help Sweetie, who he knows is mentally unstable. This suggests that Deek’s leadership centers around keeping Ruby operating as it always has, rather than helping the community’s individual citizens.
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From inside Anna Flood’s general store, Richard Misner and Anna watch Deek’s car circle the Oven. Anna complains that the Morgans get credit for founding the town when 15 families, including her own, helped found Ruby. Misner points out that the Morgans’ bank has allowed Ruby’s citizens to prosper, but that prosperity is built on credit. Anna argues that she owns the store, which she inherited from her father, but Misner insists that other people in town are in more precarious financial situations. Anna declares that Ruby is different from other places, and that its problems don’t concern money. She worries about Deek’s obsession with the Oven and the limited opportunities for the town’s youth. She is also worried about Billie Delia, who has gone missing. Anna loves Misner, but she doesn’t know if she could be a minister’s wife.
Reverend Richard Misner is one of the few outsiders in Ruby, and this status allows him to see the potential flaws in the town’s traditional way of life. Anna largely agrees with him, but her familiarity with Ruby also grants her the understanding that the town’s most significant problems are not financial. Additionally, Anna’s concern for Billie Delia is the second mention of Billie Delia’s disappearance, and it highlights that the actions of every individual in Ruby affect the community at large.
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A white family parks in front of the store and comes inside to ask for directions. Their infant child is sick, but they refuse Anna’s help, though the husband accepts some aspirin from Misner. They leave, despite Anna’s warnings of a blizzard, and Steward comes inside to ask about the white visitors. Anna raises her concern about Billie Delia, prompting Steward to mention that Deek saw Sweetie on the street. He is surprised when Anna and Misner suggest that Deek should have offered Sweetie help.
The white family’s dismissal of Anna demonstrates that even in an all-Black town, white outsiders bring racism with them. The interactions with the family and Steward also reveal that Anna and Misner share an instinct to help people, from the white family to Billie Delia to Sweetie. Deek and Steward, on the other hand, have no such impulse, despite their status as leaders of the community.
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The story flashes back to that morning. Sweetie leaves the house, exhausted from six years of constantly watching over her children. She believes if she carries out her routine one more time, “she [will] never wake up.” Sweetie walks out into the street, and a man in a pickup truck stops her. He asks if she needs help, but she ignores him. A girl (Seneca) is hitchhiking on the back of the truck, and the sight of Sweetie “broke her heart all over again.” The girl jumps off the truck and walks behind Sweetie.
Sweetie’s role as a mother has eclipsed her identity entirely. Her whole life is devoted to her children, with no variation between days. This way of life has eroded her mental health, and when she decides to leave, she takes no precautions for her own health or safety. Seneca sees Sweetie and is seemingly drawn to her distress: Seneca’s heart has been broken before, but Sweetie breaks it “all over again,” which convinces Seneca to follow her.
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When Seneca was five years old, her older sister and guardian Jean abandoned her. Seneca believed she could bring Jean back with good behavior until she found a note written in lipstick, which the girl will keep for the rest of her life. She introduces herself to Sweetie, who looks back at Seneca and sees her as “sin.” The two women continue walking through a growing blizzard until they reach the Convent, where the women take Sweetie in and try to treat her fever. Sweetie hears children crying and leaves the Convent. Anna Flood is outside with Jeff. Sweetie falls into her husband’s arms, crying that the women “snatched” her and asking to return home to care for her children.
After learning the story of Mavis, a mother who abandoned her children, the book then flips that perspective and presents Seneca, a child abandoned by her mother figure. The note written in lipstick is one of the objects the men find in the Convent in the first chapter, though they misconstrue it as a note written in blood. Their misunderstanding of Seneca’s treasured keepsake demonstrates how the men unfairly demonize the Convent women. This demonization is built upon claims like Sweetie’s—and Sweetie either does not understand that the Convent saved her or is lying to preserve her reputation as a mother. 
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Quotes
Seneca lies uncomfortably in the Convent, trying to make herself as agreeable as possible to Mavis and Gigi. She has always tried to please, including in her relationship the abusive Eddie Turtle, which continued even after he went to prison. She only stopped seeing him when Eddie’s mother told her to. In a flashback, Seneca leaves Eddie’s mother’s house. A wealthy woman in a limousine stops her and offers to pay Seneca to stay with her in a controlling relationship, which the woman implies will be sexual in nature. When the woman’s husband returns, she pays Seneca and sends her away. Seneca leaves with no plan and impulsively hides in a truck. Through a combination of hitchhiking and walking, “traveling resolutely nowhere” and keeping to herself, she makes her way to the Convent.
Jean’s abandonment of Seneca has left Seneca desperate to please those around her so that she will not be abandoned again. Like Mavis, Seneca has dealt with an abusive partner, and like Gigi, her boyfriend went to prison. However, Seneca is more passive than both other women, accepting situations as they happen to her and only acting when other people tell her to. She only begins to show some independence when she starts hitchhiking, but even then, she refuses to determine what she wants for herself and instead travels aimlessly.
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