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Jazz by Toni Morrison

Jazz (original 1992; edition 1993)

by Toni Morrison

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3,501401,516 (3.63)164
Authors:Toni Morrison
Info:New Amer Library (Mm) (1993), Paperback
Collections:Your library
Tags:fiction, 1920s, Harlem, New York, African-American, slavery, historical fiction

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Jazz by Toni Morrison (1992)

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Showing 1-5 of 38 (next | show all)
In the 1920s, a man named Joe Trace cheats on his wife, Violet, and shoots his lover. Violet then attempts to attack the corpse at the funeral, after releasing her beloved birds into the cold of New York. Morrison takes readers from present to past and back again to tell the stories of her characters, cultural experience, and what love (or lack thereof) can do to a person.

I love Morrison's books, period. Morrison is an absolutely brilliant writer with an expert command of language. The book is lyrical, flowing, and cuts deep to the core of the human experience.

If you haven't read any of Morrison's work, you must. I started with Beloved, but I've loved everything of hers I've read. ( )
  seasonsoflove | Nov 27, 2016 |
Not as hard-hitting as Song of Solomon or Beloved - those books explore similar themes much more effectively - but there were still passages on love and the longing for it that made me catch my breath. ( )
  doryfish | Aug 15, 2016 |
There is a lot that is good about this book, but I somehow just quite really like it. There are a lot of beautiful phrases and the narrative jumps are executed well enough. One of the main characters is said to have reinvented himself seven or eight times, and perhaps so did this book by switching between different characters, eras (mostly 1920s and 1870s), and different narration styles. That makes it interesting, but I didn't think the 1870s storyline contributed much, even if it arguably linked the novel to Beloved with archetypal images of a cave in the woods and the like. I should think this book will leave you with a taste for more Morrison, even if it can be a bit in your face.

“Perhaps it's the artificial rhythm of the week — perhaps there is something so phony about the seven-day cycle the body pays no attention to it, preferring triplets, duets, quartets, anything but a cycle of seven that has to be broken into human parts and the break comes on Thursday. Irresistible.” ( )
  Frenzie | Aug 3, 2016 |
I could’ve started this review with Joe Trace. Joe Trace is searching for the narrator of this tale in the same way that he was searching for his mother “Wild” in this book. Sometimes, I felt like I needed a tracker to help me track down my own ideas about this book.

At times, the book was so easy and smooth, I just got lost in its many layers. Other times, also when I was lost, I was wondering if there was a destination or things I needed to follow or if getting lost was the whole point of the book.

There was something to this book, a little like slipping, and poetry, and I suppose Jazz, where visions and revisions are not only possible but necessary. After reading the book twice, I couldn’t tell whether the book was a minor key for major emotions or something more.

The City. 1926. There were things about this time that screamed for more concreteness. And yet, we were left with The City and everything radical that that implied -- violence and more violence in the background, and the threat of more violence.

Zanna, a reviewer on Goodreads, said, “sinewy vine, hacked at in places yet blossoming out, covering itself with fresh, lush, resurgent life.” That captures what is best about this book.

I felt like the book was scratching at something that was hard to explain, never truly explicit -- but too loud and emotion-filled to be truly implicit.

Is the book improvised? I can’t say. I can only say that a first draft is often improvised. But was this a first draft, one of many trials and errors, or something that was actually worked over once, twice, thrice, never really improvised but only meant to look improvised. I don’t know that something published can truly be like true Jazz.

Just like Joe Trace, perhaps this book had to evolve. It had to reinvent itself every few other pages or else it feared it wouldn’t survive. ( )
  DanielClausen | Jul 16, 2015 |
35. Jazz by Toni Morrison (1992, 227 page kindle e-book, read May 23 - Jun 6)

This is the first Morrison book I haven't loved. I have read all her books published prior to this, and every single one left me with so much to think about, whether I wanted to or not. They tend to bring up so much to be curious about or deeply uncomfortable about, books I have been glad to read. This one, it's a complex work with a lot going on, but it didn't have much magic for me. It kind of lied flat on the page.

The story is based on a true detail Morrison came across in 1920's Harlem where a woman dying from a gun wound is asked who shot her, and she replies, "I'll tell you tomorrow", so protecting her murderer. Here she becomes a young (18 years old?) orphan from East St. Louis, Dorcus, and her murderer is her jealous married lover, Joe Trace, from rural Virgina. Morrison recreates the migrant black community in a booming Harlem, and Jazz music sets the tone and background atmosphere. The theme of migrant blacks from the south heading to the cities, especially the northern cities, is prevalent. As is the energy they bring, especially in the music, and the violence created merely by their presence. Dorcus is orphaned during the East St. Louis riots, which I had never heard of, but were real. The whites of the area rioted mainly in response to an influx of southern blacks looking for work in the city. They ended up burning down sections of the city. The death toll has never been established and estimates range from 40 to 200.

As is typical with Morrison's books, her characters become both representative of larger groups and individuals of their own. We learn to like Joe Trace, the hunter and child of the wild woman in Virginia. This curious wild women seems to be Beloved, which makes this book a sequel both in time and story lines. All these characters are struggling with the changes of their times, with the adjustment from rural challenges to big city charades and promises.

A lot of reviewers make a big deal of Morrison's prose. It's interesting here but it's not necessarily Morrison's strength. Her prose tends to stay honest to her story and perspective. Up to this point it has never wandered out on it's own, even in Beloved, but it also has always been up the challenging tasks she sets it up for. This is no exception, except that this book seems to have been designed to be carried along by the prose. For me, for this read, is wasn't quite enough.

I had this idea that the historical aspects strangled this book by mistake. She brings in so much history and she is so upset by it, that the book becomes that story. She can't jump from 1876 to 1926, she has to cover all the times in between, accurately. What is lost is room for the creative freedom that makes a book like Song of Solomon or Tar Baby or the end of Sula so captivating and magical. The music is supposed to carry Jazz, but that means her prose must carry the facts. Something gets lost along the way, or at least something is different, less sparkling magic of concept and more of prose. It's not the same.

I make this sound like a bad book. It's not. It is again an ambitious and complicated and angry work, with a great deal going on. It has its importance. And it is and was generally highly regarded and was published the year before she won her Nobel Prize.* Still, my own response pales in comparison to what she had done before.

*As a side note, I really liked a NYTimes review from 1992 by Edna O'Brien that had different complaints from mine, but somewhat along the same lines, namely the flat prose. Since the book is dependent on the prose, reviewers' praise tends to be based on whether that worked for them or not. ( )
1 vote dchaikin | Jul 1, 2015 |
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Vink, NettieTranslatorsecondary authorsome editionsconfirmed
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Io sono il nome del suono e il suono del nome. Sono il segno della lettera e la designazione della divisione. "Tuono, mente perfetta" Nag Hammadi
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What good are secrets if you can't talk to anybody about them?
It's nice when grown people whisper to each other under the covers. Their ecstasy is more leaf-sigh than bray and the body is the vehicle, not the point. They reach, grown people, for something beyond and way, way down underneath tissue.
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Amazon.com Amazon.com Review (ISBN 0452269652, Paperback)

Jazz embraces the vibrant music and lifestyle of 1920s Harlem, an urban renaissance of opportunity and glamour. A novel of murder, hard lives, and broken dreams, Jazz sways with a lyric medley of voices and human consciousness.

Narrated by the author, Toni Morrison, this is an intense but gratifying three hours of tape. Background jazz music enhances the feel of '20s Harlem, a city that attracted thousands of black southerners hoping for better lives. Joe Trace and his wife Violet were part of this migration; madly in love with each other and the idea of this urban mecca, they "traindanced into the city." But like so many of the marriages in Morrison's novels, this union crumbles, and the dreams for a better life fade away. Joe finds another, a love "that made him so sad and happy he shot her just to keep the feeling going."

In Jazz, time ebbs and flows like human memory, traversing between recollections of the past and expectations for the future; likewise, jazz music is often wild and chaotic. Here Morrison once again exemplifies herself as both a superb writer and a masterful storyteller.

(retrieved from Amazon Thu, 12 Mar 2015 18:20:14 -0400)

(see all 5 descriptions)

In the winter of 1926, when everybody everywhere sees nothing but good things ahead, Joe Trace, middle-aged door-to-door salesman of Cleopatra beauty products, shoots his teenage lover to death. At the funeral, Joe's wife, Violet, attacks the girl's corpse. This passionate, profound story of love and obsession brings us back and forth in time, as a narrative is assembled from the emotions, hopes, fears, and deep realities of Black urban life.… (more)

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