In Tar Baby, the classic concept of the individual with a solid, coherent identity is eschewed for a model of identity which sees the individual as a kaleidoscope of heterogeneous impulses and desires, constructed from multiple forms of interaction with the world as a play of difference that cannot be completely comprehended.
To get to a place where you could love anything you chose--not to need permission for desire--well now _that_ was freedom.
I had only one desire: to dismember it. To see of what it was made, to discover the dearness, to find the beauty, the desirability that had escaped me, but apparently only me.
A dead language is not only one no longer spoken or written, it is unyielding language content to admire its own paralysis. Like statist language, censored and censoring. Ruthless in its policing duties, it has no desire or purpose other than maintaining the free range of its own narcotic narcissism, its own exclusivity and dominance. However moribund, it is not without effect for it actively thwarts the intellect, stalls conscience, suppresses human potential. Unreceptive to interrogation, it cannot form or tolerate new ideas, shape other thoughts, tell another story, fill baffling silences.
Listening to the doves in Alfred, Georgia, and having neither the right nor the permission to enjoy it because in that place mist, doves, sunlight, copper dirt, moon-everything belonged to the men who had the guns. . . . So you protected yourself and loved small. . . . A woman, a child, a brother-a big love like that would split you wide open in Alfred, Georgia. . . . To get to a place where you could love anything you chose-not to need permission for desire-well now, that was freedom
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