In her book “Sula,” which was first published in 1973, Toni Morrison looks into the complexities of human connections, the effects of war on communities, and the repercussions of isolating mentally ill persons. By using the figure of the “Sharks,” Morrison successfully shows the catastrophic consequences of war on people and the propensity of communities to isolate those who are thought to be different, mainly persons with a mental illnesses. This article examines how the “Sharks” serve as a metaphor for the psychological damage caused by war and the social isolation experienced by those with mental illness.
The “Sharks” are a group of World Battle I servicemen who are scarred by the atrocities of battle and return to their little hamlet of the Bottom in Medallion after returning home from the war. This group is featured in the book. Their experiences in the battle have left them emotionally damaged and psychologically unbalanced, which causes them to show erratic and unpredictable behaviors. This is because their actions are unstable and unpredictable. On the other hand, the people who live in the Bottom cannot comprehend the nuances of their suffering and instead label the victims as “crazy” or “mad.”
It is possible to interpret the exclusion of the “Sharks” from the community as a mirror of society’s attitude to veterans who have post-traumatic stress disorder (PTSD) and other mental health disorders after they have served in the military. The community chooses to avoid these disturbed people rather than provide them assistance and understanding, which only exacerbates the individuals’ already prevalent sentiments of alienation and contributes to their further disconnection from the world around them.
Shadrack, a combat veteran and one of the “Sharks,” is the figure that Morrison employs to highlight war’s psychological toll on its participants. The harrowing events that Shadrack endured while on the battlefield have left him in an unending state of disarray and hopelessness. To bring some semblance of control to his life, he established National Suicide Day, a day on which people are encouraged to think about suicide to relieve emotional suffering. This act of designating a particular day for pondering death exposes the magnitude of Shadrack’s trauma and the necessity for him to establish a semblance of control in a world that has spun out of control for him. Shadrack’s world has spiraled out of control for him.
The community’s reaction to Shadrack’s mental illness illustrates a more significant cultural problem: the inability to comprehend and help persons with post-traumatic stress disorder (PTSD) and other mental health issues (McConnell,p140). Instead of showing him compassion and helping him out, the people who live in the Bottom make fun of him and think he’s a threat. Their anxiety and lack of understanding contribute to Shadrack’s further marginalization, perpetuating the vicious cycle of social exclusion and mental suffering.
Another character, Sula Peace, further illustrates how individuals whom society views as being different are marginalized and excluded from the mainstream (Kpohoue, p25). Sula is a free-thinking and unorthodox lady who goes against the conventions of society, which causes her community to be hostile toward her. Because she does not comply with the conventional gender norms and expectations, people tend to refer to her as “evil” and “malevolent.” Her nonconformity, combined with the fact that she is friends with the “Sharks,” further solidifies her position as an outsider
The story focuses on how the effects of war and being shunned by society may impact an individual’s mental health and conduct. Morrison argues that the characters in “Sharks” and Sula are not fundamentally evil; rather, the events in their lives and how society treats them drive them outside the community. This idea is supported by the author’s use of the characters.
In addition to this, the book examines how the impacts of war trauma may be passed down via families and how unfavorable views about those who are mentally ill can be passed down from generation to generation. A vicious cycle of mental anguish is perpetuated because the offspring of “Sharks” carry the weight of the battle trauma that their dads experienced. The stigmatizing attitude of the community toward mental illness is handed down from generation to generation, making it impossible for people suffering to get genuine understanding or assistance.
Readers are encouraged to examine their prejudices and misconceptions about mental illness and the aftereffects of war as prompted by Morrison’s depiction of the “Sharks” and their social exclusion in the novel. The book compels us to identify with the traumas encountered by veterans of war and others struggling with mental health disorders, and it encourages us to offer compassion rather than judgment in response to these experiences.
In conclusion, Toni Morrison’s “Sula” offers a comprehensive look at the consequences of war trauma on individuals and the social isolation that persons with mental illness confront within their communities. The so-called “Sharks” illustrate the psychological toll that war exacts. At the same time, the community’s reaction demonstrates society’s propensity to stigmatize and withdraw from individuals seen as being unusual or mentally sick. With the help of this compelling story, Morrison invites us to consider the repercussions of war as well as the significance of extending compassion and understanding to individuals who are battling with challenges related to their mental health. As readers, we are asked to realize the humanity of the characters in “Sharks” and to face our prejudices to contribute to developing a more accepting and caring society.
Works Cited
. Kpohoue, Ferdinand. “The black community portrayal in toni Morrison’s the bluest eye (1970), Sula (1973), and Song of Solomon (1977).” International Journal of Linguistics, Literature, and Culture 4.5 (2018): 20-30.
McConnell, Justine. “Postcolonial Sparagmos: Toni Morrison’s Sula and Wole Soyinka’s The Bacchae of Euripides: A Communion Rite.” Classical Receptions Journal 8.2 (2016): 133-154.
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