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By D. Erickson

This research examines the advanced kin among the determine of the ghost--the textual determine of metaphor and history--in Toni Morrison’s cherished and Gabriel Garc?a M?rquez’s 100 Years of Solitude.

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Additional resources for Ghosts, Metaphor, and History in Toni Morrison's Beloved and Gabriel García Márquez's One Hundred Years of Solitude

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The paragraph that begins “124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all” (39), continues the implicit connection between the ghost and Sethe’s strong emotions in a way that suggests that the ghost is merely an expression of her imagination. com - licensed to Taiwan eBook Consortium - PalgraveConnect - 2011-03-03 Realizing Absence in Beloved 28 Ghosts, Metaphor, and History When she woke the house crowded in on her: there was the door where the soda crackers were lined up in a row; the white stairs her baby girl loved to climb; the corner where Baby Suggs mended shoes, a pile of which were still in the cold room; the exact place on the stove where Denver burned her fingers.

Just once, could it say, No thank you? I just ate and can’t hold another bite? I am full God damn it of two boys with mossy teeth, one sucking on my breast the other holding me down, their book-reading teacher watching and writing it up. I am still full of that, God damn it, I can’t go back and add more . . But my greedy brain says, Oh thanks, I’d love more—so I add more. And no sooner than I do, there is no stopping . . there is still more that Paul D could tell me and my brain would go right ahead and take it and never say, No thank you.

Metaphor is generative, used to expand the resources of language. Paul Ricoeur has described this generative function of metaphor well, paraphrasing classical rhetoricians’ accounts of metaphorical transference. ”19 While, as Ricoeur notes, the classical account of metaphor as merely a process of denominational change is not tenable, the generative goal ascribed to metaphor by classical rhetoric is still applicable. Pound’s goal in constructing the metaphor of “In a Station of the Metro” was to grasp something linguistically that was, to use Morrison’s word, “unspeakable” (58) in literal terms; he could not “say it” otherwise.

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