“Girl, I Got My Mind. And What Goes on in It. Which Is to Say, I Got Me”: Artistic Self-Fashioning/Self-Mothering in Toni Morrison’s Sula (1973)

This essay highlights how, in lieu of a supportive community, Toni Morrison’s artistic daughter-protagonist, Sula, creates her own safe space within her liberated imagination through self-mothering. Thematic motifs of creative identity, the social role of the artist, and revolutionary self-care are relevant not only to Sula but to how Morrison herself conceived of transformative, safe spaces for Black women writers through her work as a writer and editor. In addition to discussing Sula, I briefly expound on Morrison’s novels, Beloved, Song of Solomon, Tar Baby, Paradise, and Bluest Eye, showing how audacious self-preservation undergirds the moral, political, and social dimensions of art, leading to personal and communal good. Reflecting on how Morrison flourished as a writer and editor after her divorce, while being the single parent to two young boys, I explicate Morrison’s understanding of motherwork as a complement to her artistic life, instructive of the ways in which carework, including self-care, helps artists and communities thrive. Morrison praised self-mothering in her unconventional artistic characters to reveal how female community and self-love are essential to sustain Black women artists.