Paradise (Beloved Trilogy, #3)

Toni Morrison has a penchant for incorporating elements akin to magical realism in her fiction. Magical realism is a “chiefly Latin-American narrative strategy that is characterized by the matter-of-fact inclusion of fantastic or mythical elements into seemingly realistic fiction” (Britannica, The Editors of Encyclopedia. “Magic Realism.” Encyclopedia Britannica. Accessed 19 March 2022). Morrison employs a similar technique in Paradise, most apparent at, or in characters related to, the Convent. By incorporating these elements, she creates a counterbalance with the traditional Christianity of Ruby, emphasizing the conflict between the town and the Convent. Ultimately, Morrison portrays the mansion as a paradise on earth, imbuing it with an otherworldly energy.

Connie possesses the mystical gift of “seeing in” or “stepping in.” She learns that she has this skill when she brings Scout Morgan back to life after a car accident: “Inside the boy she saw a pinpoint of light receding. Pulling up energy that felt like fear, she stared at it until it widened. Then more, more, so air could come seeping, at first, then rushing rushing in” (245). It is this same talent that she uses to keep Mother Superior alive, causing the woman to glow.