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Jazz Paperback – June 8, 2004
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“As rich in themes and poetic images as her Pulitzer Prize–winning Beloved.... Morrison conjures up the hand of slavery on Harlem’s jazz generation. The more you listen, the more you crave to hear.” —Glamour
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 novel “transforms a familiar refrain of jilted love into a bold, sustaining time of self-knowledge and discovery. Its rhythms are infectious” (People).
"The author conjures up worlds with complete authority and makes no secret of her angst at the injustices dealt to Black women.” —The New York Times Book Review
- Print length256 pages
- LanguageEnglish
- PublisherVintage
- Publication dateJune 8, 2004
- Dimensions5.18 x 0.72 x 7.99 inches
- ISBN-101400076218
- ISBN-13978-1400076215
- Lexile measure980L
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Editorial Reviews
Review
“She may be the last classic American writer, squarely in the tradition of Poe, Melville, Twain and Faulkner.” —Newsweek
“[A] masterpiece. . . . She has moved from strength to strength until she has reached the distinction of being beyond comparison.” —Entertainment Weekly
“Thrillingly written . . . seductive. . . . Some of the finest lyric passages ever written in a modern novel.” —Chicago Sun-Times
“A compelling blend of heart and language. . . . Resounds with passion.” —The Boston Globe
“Marvelous. . . . Morrison is perhaps the finest novelist of our time.” —Vogue
“The author conjures up worlds with complete authority and makes no secret of her angst at the injustices dealt to black women.” —Edna O’Brien, The New York Times Book Review
“She captures that almost indistinguishable mixture of the anxiety and rapture of expectation—that state of desire where sin is just another word for appetite.” —San Francisco Chronicle
“As rich in themes and poetic images as her Pulitzer Prize–winning Beloved. . . . Morrison conjures up the hand of slavery on Harlem’s jazz generation. The more you listen, the more you crave to hear.” —Glamour
“She is the best writer in America. Jazz, for sure; but also Mozart.” —John Leonard, National Public Radio
“A masterpiece. . . . A sensuous, haunting story of various kinds of passion. . . . Mesmerizing.” —Cosmopolitan
“Lyrically brooding. . . . One accepts the characters of Jazz as generalized figures moving rhythmically in the narrator’s mind.” —The New York Times
“Transforms a familiar refrain of jilted love into a bold, sustaining time of self-knowledge and discovery. Its rhythms are infectious.” —People
From the Inside Flap
It is winter, barely three days into 1926, seven years after Armistice; we are in the scintillating City, around Lenox Avenue, "when all the wars are over and there will never be another one...At last, at last, everything's ahead...Here comes the new. Look out. There goes the sad stuff. The bad stuff. The things-nobody-could-help stuff." But amid the euphoric decisiveness, a tragedy ensues among people who had train-danced into the City, from points south and west, in search of promise.
Joe Trace--in his fifties, door-to-door salesman of Cleopatra beauty products, erstwhile devoted husband--shoots to death his lover of three months, impetuous, eighteen-year-old Dorcas ("Everything was like a picture show to her"). At the funeral, his determined, hard-working wife, Violet, herself a hairdresser--who is given to stumbling into dark mental cracks, and who talks mostly to birds--tries with a knife to disfigure the corpse.
In a dazzling act of jazz-like improvisation, moving seamlessly in and out of past, present, and future, a mysterious voice--whose identity is a matter of each reader's imagination--weaves this brilliant fiction, at the same time showing how its blues are informed by the brutal exigencies of slavery. Richly combining history, legend, reminiscence, this voice captures as never before the ineffable mood, the complex humanity, of black urban life at a moment in our century we assumed we understood.
Jazz is an unprecedented and astonishing invention, a landmark on the American literary landscape--a novel unforgettable and for all time.
From the Hardcover edition.
From the Back Cover
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
The snow she ran through was so windswept she left no footprints in it, so for a time nobody knew exactly where on Lenox Avenue she lived. But, like me, they knew who she was, who she had to be, because they knew that her husband, Joe Trace, was the one who shot the girl. There was never anyone to prosecute him because nobody actually saw him do it, and the dead girl's aunt didn't want to throw money to helpless lawyers or laughing cops when she knew the expense wouldn't improve anything. Besides, she found out that the man who killed her niece cried all day and for him and for Violet that is as bad as jail.
Regardless of the grief Violet caused, her name was brought up at the January meeting of the Salem Women's Club as someone needing assistance, but it was voted down because only prayer--not money--could help her now, because she had a more or less able husband (who needed to stop feeling sorry for himself), and because a man and his family on 134th Street had lost everything in a fire. The Club mobilized itself to come to the burnt-out family's aid and left Violet to figure out on her own what the matter was and how to fix it.
She is awfully skinny, Violet; fifty, but still good looking when she broke up the funeral. You'd think that being thrown out the church would be the end of it--the shame and all--but it wasn't. Violet is mean enough and good looking enough to think that even without hips or youth she could punish Joe by getting herself a boyfriend and letting him visit in her own house. She thought it would dry his tears up and give her some satisfaction as well. It could have worked, I suppose, but the children of suicides are hard to please and quick to believe no one loves them because they are not really here.
Anyway, Joe didn't pay Violet or her friend any notice. Whether she sent the boyfriend away or whether he quit her, I can't say. He may have come to feel that Violet's gifts were poor measured against his sympathy for the brokenhearted man in the next room. But I do know that mess didn't last two weeks. Violet's next plan--to fall back in love with her husband--whipped her before it got on a good footing. Washing his handkerchiefs and putting food on the table before him was the most she could manage. A poisoned silence floated through the rooms like a big fishnet that Violet alone slashed through with loud recriminations. Joe's daytime listlessness and both their worrying nights must have wore her down. So she decided to love--well, find out about--the eighteen-year-old whose creamy little face she tried to cut open even though nothing would have come out but straw.
Violet didn't know anything about the girl at first except her name, her age, and that she was very well thought of in the legally licensed beauty parlor. So she commenced to gather the rest of the information. Maybe she thought she could solve the mystery of love that way. Good luck and let me know.
She questioned everybody, starting with Malvonne, an upstairs neighbor--the one who told her about Joe's dirt in the first place and whose apartment he and the girl used as a love nest. From Malvonne she learned the girl's address and whose child she was. From the legally licensed beauticians she found out what kind of lip rouge the girl wore; the marcelling iron they used on her (though I suspect that girl didn't need to straighten her hair); the band the girl liked best (Slim Bates' Ebony Keys which is pretty good except for his vocalist who must be his woman since why else would he let her insult his band). And when she was shown how, Violet did the dance steps the dead girl used to do. All that. When she had the steps down pat--her knees just so--everybody, including the exboyfriend, got disgusted with her and I can see why. It was like watching an old street pigeon pecking the crust of a sardine sandwich the cats left behind. But Violet was nothing but persistent and no wisecrack or ugly look stopped her. She haunted PS-89 to talk to teachers who knew the girl. JHS-139 too because the girl went there before trudging way over to Wadleigh, since there were no high schools in her district a colored girl could attend. And for a long time she pestered the girl's aunt, a dignified lady who did fine work off and on in the garment district, until the aunt broke down and began to look forward to Violet's visits for a chat about youth and misbehavior. The aunt showed all the dead girl's things to Violet and it became clear to her (as it was to me) that this niece had been hardheaded as well as sly.
One particular thing the aunt showed her, and eventually let Violet keep for a few weeks, was a picture of the girl's face. Not smiling, but alive at least and very bold. Violet had the nerve to put it on the fireplace mantel in her own parlor and both she and Joe looked at it in bewilderment.
It promised to be a mighty bleak household, what with the birds gone and the two of them wiping their cheeks all day, but when spring came to the City Violet saw, coming into the building with an Okeh record under her arm and carrying some stewmeat wrapped in butcher paper, another girl with four marcelled waves on each side of her head. Violet invited her in to examine the record and that's how that scandalizing threesome on Lenox Avenue began. What turned out different was who shot whom.
I'm crazy about this City.
Daylight slants like a razor cutting the buildings in half. In the top half I see looking faces and it's not easy to tell which are people, which the work of stonemasons. Below is shadow where any blasé thing takes place: clarinets and lovemaking, fists and the voices of sorrowful women. A city like this one makes me dream tall and feel in on things. Hep. It's the bright steel rocking above the shade below that does it. When I look over strips of green grass lining the river, at church steeples and into the cream-and-copper halls of apartment buildings, I'm strong. Alone, yes, but top-notch and indestructible--like the City in 1926 when all the wars are over and there will never be another one. The people down there in the shadow are happy about that. At last, at last, everything's ahead. The smart ones say so and people listening to them and reading what they write down agree: Here comes the new. Look out. There goes the sad stuff. The bad stuff. The things-nobody-could-help stuff. The way everybody was then and there. Forget that. History is over, you all, and everything's ahead at last. In halls and offices people are sitting around thinking future thoughts about projects and bridges and fast-clicking trains underneath. The A&P hires a colored clerk. Big-legged women with pink kitty tongues roll money into green tubes for later on; then they laugh and put their arms around each other. Regular people corner thieves in alleys for quick retribution and, if he is stupid and has robbed wrong, thieves corner him too. Hoodlums hand out goodies, do their best to stay interesting, and since they are being watched for excitement, they pay attention to their clothes and the carving out of insults. Nobody wants to be an emergency at Harlem Hospital but if the Negro surgeon is visiting, pride cuts down the pain. And although the hair of the first class of colored nurses was declared unseemly for the official Bellevue nurse's cap, there are thirty-five of them now--all dedicated and superb in their profession.
Nobody says it's pretty here; nobody says it's easy either. What it is is decisive, and if you pay attention to the street plans, all laid out, the City can't hurt you.
I haven't got any muscles, so I can't really be expected to defend myself. But I do know how to take precaution. Mostly it's making sure no one knows all there is to know about me. Second, I watch everything and everyone and try to figure out their plans, their reasonings, long before they do. You have to understand what it's like, taking on a big city: I'm exposed to all sorts of ignorance and criminality. Still, this is the only life for me. I like the way the City makes people think they can do what they want and get away with it. I see them all over the place: wealthy whites, and plain ones too, pile into mansions decorated and redecorated by black women richer than they are, and both are pleased with the spectacle of the other. I've seen the eyes of black Jews, brimful of pity for everyone not themselves, graze the food stalls and the ankles of loose women, while a breeze stirs the white plumes on the helmets of the UNIA men. A colored man floats down out of the sky blowing a saxophone, and below him, in the space between two buildings, a girl talks earnestly to a man in a straw hat. He touches her lip to remove a bit of something there. Suddenly she is quiet. He tilts her chin up. They stand there. Her grip on her purse slackens and her neck makes a nice curve. The man puts his hand on the stone wall above her head. By the way his jaw moves and the turn of his head I know he has a golden tongue. The sun sneaks into the alley behind them. It makes a pretty picture on its way down.
Do what you please in the City, it is there to back and frame you no matter what you do. And what goes on on its blocks and lots and side streets is anything the strong can think of and the weak will admire. All you have to do is heed the design--the way it's laid out for you, considerate, mindful of where you want to go and what you might need tomorrow.
I lived a long time, maybe too much, in my own mind. People say I should come out more. Mix. I agree that I close off in places, but if you have been left standing, as I have, while your partner overstays at another appointment, or promises to give you exclusive attention after supper, but is falling asleep just as you have begun to speak--well, it can make you inhospitable if you aren't careful, the last thing I want to be.
Hospitality is gold in this City; you have to be clever to figure out how to be welcoming and defensive at the same time. When to love something and when to quit. If you don't know how, you can end up out of control or controlled by some outside thing like that hard case last winter. Word was that underneath the good times and the easy money something evil ran the streets and nothing was safe--not even the dead. Proof of this being Violet's outright attack on the very subject of a funeral ceremony. Barely three days into 1926. A host of thoughtful people looked at the signs (the weather, the number, their own dreams) and believed it was the commencement of all sorts of destruction. That the scandal was a message sent to warn the good and rip up the faithless. I don't know who was more ambitious--the doomsayers or Violet--but it's hard to match the superstitious for great expectations.
Armistice was seven years old the winter Violet disrupted the funeral, and veterans on Seventh Avenue were still wearing their army-issue greatcoats, because nothing they can pay for is as sturdy or hides so well what they had boasted of in 1919. Eight years later, the day before Violet's misbehavior, when the snow comes it sits where it falls on Lexington and Park Avenue too, and waits for horse-drawn wagons to tamp it down when they deliver coal for the furnaces cooling down in the cellars. Up in those big five-story apartment buildings and the narrow wooden houses in between people knock on each other's doors to see if anything is needed or can be had. A piece of soap? A little kerosene? Some fat, chicken or pork, to brace the soup one more time? Whose husband is getting ready to go see if he can find a shop open? Is there time to add turpentine to the list drawn up and handed to him by the wives?
Breathing hurts in weather that cold, but whatever the problems of being winterbound in the City they put up with them because it is worth anything to be on Lenox Avenue safe from fays and the things they think up; where the sidewalks, snow-covered or not, are wider than the main roads of the towns where they were born and perfectly ordinary people can stand at the stop, get on the streetcar, give the man the nickel, and ride anywhere you please, although you don't please to go many places because everything you want is right where you are: the church, the store, the party, the women, the men, the postbox (but no high schools), the furniture store, street newspaper vendors, the bootleg houses (but no banks), the beauty parlors, the barbershops, the juke joints, the ice wagons, the rag collectors, the pool halls, the open food markets, the number runner, and every club, organization, group, order, union, society, brotherhood, sisterhood or association imaginable. The service trails, of course, are worn, and there are paths slick from the forays of members of one group into the territory of another where it is believed something curious or thrilling lies. Some gleaming, cracking, scary stuff. Where you can pop the cork and put the cold glass mouth right up to your own. Where you can find danger or be it; where you can fight till you drop and smile at the knife when it misses and when it doesn't. It makes you wonderful just to see it. And just as wonderful to know that back in one's own building there are lists drawn up by the wives for the husband hunting an open market, and that sheets impossible to hang out in snowfall drape kitchens like the curtains of Abyssinian Sunday-school plays.
Product details
- Publisher : Vintage; Reprint edition (June 8, 2004)
- Language : English
- Paperback : 256 pages
- ISBN-10 : 1400076218
- ISBN-13 : 978-1400076215
- Lexile measure : 980L
- Item Weight : 2.31 pounds
- Dimensions : 5.18 x 0.72 x 7.99 inches
- Best Sellers Rank: #14,113 in Books (See Top 100 in Books)
- #126 in Contemporary Literature & Fiction
- #370 in Coming of Age Fiction (Books)
- #1,383 in Literary Fiction (Books)
- Customer Reviews:
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About the authors
Toni Morrison was awarded the Nobel Prize for Literature in 1993. She is the author of several novels, including The Bluest Eye, Beloved (made into a major film), and Love. She has received the National Book Critics Circle Award and a Pulitzer Prize. She is the Robert F. Goheen Professor at Princeton University.
Discover more of the author’s books, see similar authors, read book recommendations and more.
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Learn more how customers reviews work on AmazonCustomers say
Customers find the book interesting and enjoyable. They praise the skillful prose and well-crafted story. The love story is thought-provoking and expressed in a powerful way. Many consider it worth the price and time. Readers appreciate the rhythm of the book and the well-developed characters. However, some find the storyline difficult to follow due to missing parts.
AI-generated from the text of customer reviews
Customers find the book engaging and informative. They say it's a must-read for Morrison fans and provides a realistic portrayal of African-American life in the 1920s. Readers enjoy the simple story and find it insightful and a pleasure to read.
"...This book alternates points of view as if it is one long stream of consciousness and travels between time just as quickly...." Read more
"...This being said, I found this novel to be a great pleasure, a story that's simple enough about a middle-aged married black couple The Traces in &..." Read more
"...Overall a very interesting book, and it made 1920s Harlem (both the good and bad) come alive. Interested to read Paradise next." Read more
"...Overall this is a good novel, but you may find some of the author's other works a bit more compelling, such as The Bluest Eye, A Mercy, Sula and..." Read more
Customers appreciate the book's writing quality. They find the prose skillful, the story well-crafted, and the narration interesting. The author uses figurative language to make the plot come alive.
"...Morrison’s prose is poetic, and she writes the way that jazz feels...." Read more
"...It's not a difficult read, nor is it difficult to follow if you've read any of her before or read Hemmingway, Faulkner or Kerouac for that matter...." Read more
"...The way the narrator told the story was very interesting, because it adopted the tone of different people...." Read more
"...Toni Morrison's, skillful prose gives the novel a cultural richness and vitality that resonates with the reader...." Read more
Customers enjoy the love story. They find it thought-provoking and passionate, expressed through jazz music. The themes of love, infidelity, passion, violence, community, and empathy are explored. Readers describe the book as a tale of purgatory and jazz.
"...There’s much to be said about love, grief, and generational trauma as well...." Read more
"...It examines the themes of love, infidelity, passion, violence, community, and racial identity in post slavery America...." Read more
"...of Jazz is that every character, no matter how lonely, is completely in love, in one way or another. And love is what redeems them. Of course." Read more
"...But she makes these people vivid and sympathetic, She never is sentimental or didactic...." Read more
Customers find the book worthwhile. They say it's worth the price, effort, and time.
"...Terrible but worth the risk, because there is no other thing to do, although, being seventeen, you do it. Study, work, memorize...." Read more
"...This is a book that needs a second reading to fully understand it. But worth it. Its like a puzzle." Read more
"The introduction alone(by Boni Morrison!) is worth the price of the book!" Read more
"...Worth the effort and the time." Read more
Customers appreciate the rhythm of the book. They say it's expressive and musical, with a harmonious buildup to the main story.
"...Her writing style allows the novel to have the same flow, cadence and rhythm of jazz music...." Read more
"One of the greatest books of all time. She connects the rhythm of jazz with the pulse of the country in a masterful way...." Read more
"...at the same time are clearly connected to the main story, all while harmoniously and slowly building to the climax of the plot. Beautiful." Read more
"...Her voice on the audio version is expressive and musical." Read more
Customers enjoy the well-developed characters. However, some find them overly developed. The book explores different characters and stories at the same time.
"...These characters are real. They're flawed, and they're you and me. You know good writing states something that will always be true...." Read more
"This is a really great book, the way all the characters lives are intertwined is amazing...." Read more
"...it goes up and down from different characters, delving into different stories which at the same time are clearly connected to the main story, all..." Read more
"...The characters were well developed I must say but perhaps overly developed as I did not care for many of them of which she chose to write..." Read more
Customers appreciate the author's voice. They find it expressive, musical, and authentic. The narrative resonates with readers.
"...prose gives the novel a cultural richness and vitality that resonates with the reader...." Read more
"Toni Morrison was the voice of generations, the poet of a disenfranchised people, the conscience of the privileged ...." Read more
"...download novel is read by the author, which gives it a very authentic voice to the narrative. I love audible!" Read more
"...Her voice on the audio version is expressive and musical." Read more
Customers find the book difficult to follow due to missing parts. They also say the storyline is hard to understand, boring, and underappreciated. Some readers feel the ending is awkward.
"...It was good but sometimes it was boring and a drag" Read more
"This book was not easy to follow. I even tried listening to the audio book to see if maybe I was misinterpreting the narrative, but no." Read more
"unsatisfied. Missing paragraphs at the time. Some of it is important to story line. I have to pause and read what is missing...." Read more
"...It was also bland, predictable, and uninspiring and ended awkwardly...." Read more
Top reviews from the United States
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- Reviewed in the United States on April 19, 2023This is my second time reading this book, with several years between, and I like it more as I’ve aged. While this book is short, it’s better to pace yourself as you read. I encourage the paperback because the pages are thick and that adds to the experience, causing you to take your time turning the page.
Morrison’s prose is poetic, and she writes the way that jazz feels. This book alternates points of view as if it is one long stream of consciousness and travels between time just as quickly. Many passages I had to read over again as I did not grasp it the first time. There’s much to be said about love, grief, and generational trauma as well.
Morrison has a talent for weaving together the stories and lives of her characters— in some ways I felt I was reading several short stories, and in others I was reading one long poem.
- Reviewed in the United States on February 22, 2003After having read this novel I can't believe all the negative reviews, most people claiming that the novel was too hard or difficult to follow. I've read 4 of Morrison's books (The Bluest Eye, Song of Solomon, Sula and Beloved) and I'll have to say that enjoyed this one amensely and I pretty much read over a span of three days. It's not a difficult read, nor is it difficult to follow if you've read any of her before or read Hemmingway, Faulkner or Kerouac for that matter. On a second reading of any of Morrison's novels, you always come away with something new, as with any quality piece of literature. So I really don't buy into this idea that Morrison's novels, this one in particular are difficult to read.
This being said, I found this novel to be a great pleasure, a story that's simple enough about a middle-aged married black couple The Traces in "the City" during 1920's the husband Joe Trace has a fling with a young girl named Dorcas Manfred whom he later kills in the middle of party though the girl's Aunt/Guardian doesn't press charges and the wife Violet "Violent" Trace tries to disfigure the dead girl in the casket at her funeral. That's basically it without giving away the novel. There is an almost sensual use of language here that tells the stories behind the story that is common in Morrison's novels that gives Jazz that particular kind of flavor that distinguishes it from Morrison's other works and makes this novel more than a pleasure to read. I highly recommend it!
- Reviewed in the United States on June 26, 2015While this is in a trilogy with Beloved, it's thematically related and not connected by plot. Due to my enjoyment of Beloved, I decided to check out this book.
Just like in Beloved, Morrison starts off by describing an event of egregious violence and then proceeds to flesh out the lives of the characters and illuminates what drove them to commit the act. While Beloved is about the abundance of motherly love, this is about the abundance of romantic love. The characters of Joe and Violet end up killing and mutilating a seventeen year old girl, all in the name of jealousy and love.
As the book progresses Morrison shows what happened to their marriage and what drove the characters to make the choices that resulted in the death of Dorcas. The way the narrator told the story was very interesting, because it adopted the tone of different people. Sometimes the narrator was speaking as a neighbor, a shop keeper, a friend, or The City itself. I especially enjoyed the ending section where Morrison herself narrates directly to the reader. Throughout the book I really got a sense of the 1920s Harlem society where the story happened. The language of the book evoked a Jazz arrangement with different character's voices coming out over the undertones of the narrator, almost like a solo. I loved how different sections referred back to other sections, and different scenes gradually fleshed out the entire events.
What i found most interesting about this book was the theme of how racism and slavery divided families and destroyed black American society, which resulted in intraracial violence. I also liked how near the end when Joe was out looking for Dorcas it mixed with an early account of him looking for his Mother in the woods of Virginia showing how his disjointed family created his search for a woman to have an affair with and his inherent anger at her leaving him.
Overall a very interesting book, and it made 1920s Harlem (both the good and bad) come alive. Interested to read Paradise next.
- Reviewed in the United States on November 23, 2014An entertaining read. The book chronicles the lives of Joe Trace, his wife Violet, and the possibility of salvaging their marriage, in the aftermath of the murder of his mistress. It examines the themes of love, infidelity, passion, violence, community, and racial identity in post slavery America. The novel also speaks to the exodus of black folks from the south, as they made their way up north to Harlem in the early 1900s, in search of a better way of life. It looks at how they interact, survive and thrive, in spite of their circumstances.
Toni Morrison's, skillful prose gives the novel a cultural richness and vitality that resonates with the reader. Her writing style allows the novel to have the same flow, cadence and rhythm of jazz music. This is also appropriate, since the plot is largely centered on Harlem, in a era where jazz music was becoming increasingly popular, and formed the backdrop against which the people lived their lives.
Overall this is a good novel, but you may find some of the author's other works a bit more compelling, such as The Bluest Eye, A Mercy, Sula and Beloved.
- Reviewed in the United States on March 20, 2024The writing is excellent!
Top reviews from other countries
- CKTReviewed in the United Kingdom on October 16, 2021
5.0 out of 5 stars Toni Morrison, Queen of Literature
I compared this book with F. Scott Fitzgerald’s ‘The Great Gatsby’ for A-Level English Literature coursework. It was a really enjoyable read, I love the Modernist inspirations in the free indirect style. It is also beautiful to finally have books that centre the black community of Harlem in the 1920s, since poc have typically been marginalised by the dominance of white, male voices in literature. The depth and wit of this short novel is fantastic, I couldn’t recommend it more highly. I think this book is massively underrated (it is definitely on par with Morrison’s more famous works).
- Anmol T.Reviewed in India on June 6, 2020
5.0 out of 5 stars Absolutely astonishing.
Breathtaking, witty and just sumptuous in its language. I laughed, cried and smiled throughout. Ms Morrison is incomparable. A league of her own.
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Cliente AmazonReviewed in Spain on August 4, 2019
4.0 out of 5 stars Muy bueno
Me ha gustado mucho la historia. El papel es de dudosa calidad
- destinazione_libro (Pagina Instagram)Reviewed in Italy on February 9, 2013
5.0 out of 5 stars Wonderfully written and moving
Written by Nobel Prize winner Toni Morrison, "Jazz" is just like the music it tries to imitate: it goes up and down, backwards and forwards, taking the reader through the myths and the lives of at least three generations of Black Americans, each one with his/her own amazing story, starting with their meaningful names. And just like jazz, this novel never stops taking the reader aback, spinning a web of intricated relationships and meanings, defying him/her to guess its tune before it starts another one.
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Avv. I. Iov.Reviewed in Italy on July 28, 2021
5.0 out of 5 stars Gradito
Gradito