'A magnum opus... Puts the reader at the heart of the horror that came to be called the Atlanta child murders' Toni Morrison Zala Spencer is barely surviving on the margins of Atlanta's booming economy when she awakens one summer's morning in 1980 to find her teenage son, Sonny, has disappeared. As uneasy hours turn into desperate days, Zala realizes that Sonny is among the many cases of missing children beginning to attract national attention. Growing increasingly disillusioned with the authorities, who respond to Sonny's ...
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'A magnum opus... Puts the reader at the heart of the horror that came to be called the Atlanta child murders' Toni Morrison Zala Spencer is barely surviving on the margins of Atlanta's booming economy when she awakens one summer's morning in 1980 to find her teenage son, Sonny, has disappeared. As uneasy hours turn into desperate days, Zala realizes that Sonny is among the many cases of missing children beginning to attract national attention. Growing increasingly disillusioned with the authorities, who respond to Sonny's disappearance with cold indifference, Zala and her estranged husband embark on an epic search. Through the eyes of a family seized by anguish and terror, we watch a city roiling with political, racial, and class tensions. Written over a span of twelve years, and edited by Toni Morrison, who called Those Bones Are Not My Child the author's magnum opus, Toni Cade Bambara's last novel leaves us with an enduring and revelatory chronicle of an American nightmare.
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At first Bambara?s novel treating the Atlanta Child Murders seems like the book described in Michael Chabon?s The Wonder Boys, Professor Grady Tripp?s never-ending 1125-page, single-spaced opus that his star student assesses as dense with detail ?as though you didn?t make any choices. At all.? By all accounts the word that comes up repeatedly to describe the time of the child murders is ?chaos,? and originally I thought Bambara had succeeded only in creating a sense of how overwhelming, confusing, and disorienting black parents in Atlanta found those years, but on later readings I came to see other agendas at work. The novel makes a convincing and unsatisfying case that the mystery is not solved.
Bambara describes the years when she was writing this book as a period of madness, in part because, she says, ?I didn?t want it? (Deep Sightings 238). Like Hazel in her first novel, The Salt Eaters, Bambara found herself caught between the dissatisfactions of her community and the demands of the spirit world (morality, if you prefer). News people were calling her for leads and doing research for her, and she knew that she endangered herself by writing an account that contradicted what she calls ?that highly selective media-police-city-hall-fiction on which someone got convicted? (Deep Sightings 238). The disturbing feeling of incoherence created by the text is part of its design, not a product of textual incompleteness. Toni Morrison says that the manuscript came to her as a finished piece after Bambara?s death and that she edited it down from 1800 pages to 676.
