For Morrison and most other writers of the 1980s, though, everything about the novel, from plot to style to characterisation, that had once seemed fairly neutral was seen to be fraught with political implications. This acceptance of the novel's power to shape opinion actually frees her to do anything she wants artistically - novelists who are careful to avoid social questions tend to limit their subjects to personal relationships or aesthetic questions that seem, on the surface, to be perennial, though in fact the novelist is usually simply avoiding the social and economic implications of what he or she is saying. I t is clear from Morrison's dedication ("Sixty Million and more") that she intends to embrace the social document potential of the novel, as, indeed, any novel that treats injustice and its effects must do.
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