Sula by Toni Morrison celebrates freedom from society's constraints on individuality and self-discovery, and illustrates the negative impact of conformity. The novel follows the lives of several members of The Bottom community who refuse to give up their identities to meet expectations of how a certain race or gender should act and the impact this has on their lives and their society. This society, influenced by American racial segregation in the 1900s, imposes specific norms and excludes anyone who defies the cultural norm. Although some characters choose to retain their individuality and isolate themselves, they never fully establish their identity and are desperate for something to achieve this. Characters cling to certain aspects of their lives to create a sense of identity, only to lose it and themselves, now forced to live aimlessly. Lynn Nordin's essay "'My Lonely Is Mine' Loss and Identity in Toni Morrison's Sula" discusses both the negative and positive impact of loss on the identities of the novel's characters. Tom Stoppard's Rosencrantz and Guildenstern Are Dead reflect a similar notion, as the main character stumbles uselessly across the room trying to discover his purpose, but ends up getting lost. The ambiguous identities of the novel's characters highlight the ambivalent impact of nonconformism on an individual and on society itself. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Morrison begins his novel by detailing the origin of The Bottom, a hilltop community of African Americans, as a community of deception and white ascendancy. Although they dislike blatant injustice, members of The Bottom make no effort to change their situation and instead emulate such segregation within their own community: "They were extremely concerned about earthly things – and each other, wondering…what was that little girl Sula…that was all, and what was Aris 2, they were themselves” (Morrison 6). Specific expectations and social norms restrict residents' individuality, and adherence to identity and refusal to conform to morals and the mundane way of life of the city results in ostracism, isolation, and fear. At first, the disregard for their principles frightens the residents and they hide from it, but eventually get used to such things and incorporate them into their regime, "...they had simply stopped commenting on the holidays because they had absorbed them into their thoughts, into their language, into their lives” (Morrison 15), and ended up becoming dependent on them. Just as "suicide day became part of the social fabric of Bottom of Medallion, Ohio" (Morrison 16), Sula, a promiscuous and nonconforming person, forces the town to develop a strong identity, which dissipates upon her death . Throughout her life, Sula challenges her society and aims to develop her own identity instead of conforming to orthodox rules, which infuriates her town. His stubborn rejection of the misogyny, racism, and classism of the 1900s intrigues everyone around him, sparking obtuse hatred and fear among his neighbors. However, amidst the antipathy, love and camaraderie seep into the town's identity: "They began to cherish their husbands and wives, to protect their children, to repair their homes, and, in general, to regroup” (Morrison 117). Sula's presence, although despised, becomes a crucial part of The Bottom, and once eliminated, the town members lose their sense and understanding. Although afterSula's death, a brief tranquility permeates the town, with no one to mutually hate and bond over, all color and warmth literally disappears, and the town returns to its cruelty and stifling behaviors. Without an identity, or any form of motivation to live, the inhabitants of The Bottom desperately search for one, ultimately finding Aris 3 solace in the incongruity of Shadrack and Suicide Day, which ironically leads to their deaths. While the majority of members of The Bottom find identity through hatred of nonconformity, several characters find temporary identities in many facets and choose to accept or reject some of those aspects of themselves. Race plays an important role in many characters' identities, as they either challenge or accept society's perception of black inferiority. The fact that Shadrack finds comfort and stability when he first sees her face shows the importance of accepting what society deems unfit and hateful. “He harbored a nervous apprehension…that he didn’t exist at all.” But when the darkness greeted him with its unquestionable presence, he wanted nothing more” (Morrison 13). Shadrack feels none of the inferiority that segregation impresses and instead rejoices in the beauty and wealth of his race. Likewise, Sula expresses strong confidence in the superiority of blacks over Jude and Nel, asserting that all men, even whites, adore and envy blacks and their love (Morrison 105). Tar Baby, one of the few white people to interact with the black community, finds relief in The Bottom, where he can live and die peacefully without the expectations of white society. However, despite positive perceptions of black people, several characters attempt to eliminate them. ties to their culture and inadvertently accept the oppressed role assigned by society. Hélène Wright's compulsive cleaning symbolizes her desire to shed her black and Creole roots and also suppresses her daughter's identity: “I don't speak Creole…and neither do you” (Morrison 27). Her desire for approval and propriety makes her passive when confronted with someone she has accepted as superior, "a desire to please and excuses to live are found in her voice" (Morrison 20). Even if her daughter, Nel, refuses to become like her mother: “I am me. I'm not their daughter. I'm not Nel. I am me. Me” (Morrison 28), she ultimately emulates her life as a single mother Aris 4 and leader of the black community. Conforming to racial norms causes great pain to all who do so, while those who accept their race and background have greater self-esteem and allow them to escape more societal norms and prejudices. Racial norms are directly linked to the gender roles assigned to each person. However, among men and women in black society, there is much ambiguity regarding the acceptance of sexual nonconformity in The Bottom. The city celebrates female leaders such as Eva Peace, Helene Wright and Nel Wright, other women look down on immoral and promiscuous women like Sula Peace and Hannah Peace. Furthermore, men who do not work and isolate themselves are humiliated, while those who commit adultery face no reprimand. Morrison creates a world of female empowerment, where men do not dictate their lives, but where women dominate society and men play a passive role. Shadrack, Plum, and Tar-Baby isolate themselves and make no productive effort, forcing the women around them to act as both caretakers and leaders. Any husbands or partners exist primarily as motivators for the female characters' action. The departure ofBoy-Boy leads Eva to become a prominent figure in society and care for her family and others, driven by her hatred for her ex-husband, which ultimately defines her identity, "...the consistency of this hatred as long as she wanted it or needed it to define and strengthen her or protect her from habitual vulnerabilities” (Morrison 36). Nel experiences a similar event, where she becomes the sole source of income and support for her children, uses pain as motivation, and, like Eva and her mother, becomes a leader in the black community. While Nel imitates her mother's life, Sula imitates Hannah's. HannHannah shamelessly flirts and sleeps with men, regardless of their marital status, attracting them with her attractiveness and magnetic personality. “Hannah rubbed no edges, made no demands, made man feel complete and wonderful just as he was” Aris 5 (Morrison 43). Men enjoy her company because, even while she breaks away from the stereotypical role of modest and moral wife, she acts with elegance and femininity. Although her daughter follows her model of promiscuity, Sula's methodology is more masculine, as sex exists solely as a personal pleasure rather than one. as an emotional experience She lacks Hannah's kindness and generosity and infuriates both men and women: "Hannah was a nuisance, but she complimented women...Sula tried them and threw them away as unapologetically as men." could swallow” (Morrison 115). traditional gender and have a considerable impact on their society. As Sula imitates her mother's lifestyle, Morrison emphasizes the tremendous impact that friends and family have on one's identity and individuality. The Deweys, three boys from different backgrounds and all nicknamed Dewey by Eva, become so close that they end up becoming a single entity, where one cannot exist without the others. Despite very different physical characteristics, no one can tell the difference between the boys with whom Eva has no problem: “Why do you need to tell them apart? They’re all Deweys” (Morrison 38). Despite their aging, the boys never mature and remain childish and inseparable until their death. The boys do not conform to the town's expectations and instead find their identity with each other. Helene Wright also establishes her identity through her daughter. Not wanting her daughter to also live a life of disorder and useless ambitions, Hélène inhibits the imagination and tries to dissuade any bad influence on her daughter. Hélène wishes to transmit a part of herself to her daughter and seems to succeed in instilling in her decorum and the desire for control and order. Hélène wishes to conform her daughter to the morals of society and almost wishes to transmit her Aris 6 beliefs to her daughter. Although Nel does not experience any identity assimilation with her mother, she firmly roots her identity with Sula when she was a child, then with her husband when Sula leaves. However, once she loses him, she also believes herself to be gone and suffers from the loss of control and stability in her life. She feels incomplete, and despite her cool and perfect demeanor, the sinister “ball of muddy ropes” (Morrison 109) symbolizes her inner turmoil and chaotic nature, similar to Sula. Until she visits Eva, Nel doesn't realize that her husband's betrayal is not the one that causes her sadness, even though she used him to fill her incompleteness for years. When Eva confronts Nel about the accidental murder and claims shewatched, Nel realizes that she enjoyed it because she really craves chaos and lack of control, just like Sula. Nel realizes that Sula is her counterpart and that they exist as one person. However, Sula's death separated the couple forever, and Nel finally lets go of the gray ball as she mourns her lost friendship. Sula recognizes much earlier that she feels incomplete, "her needing half of her equation" (Morrison 121), and tries to fill her with sex – which she observed as a child as a pleasurable experience that temporarily replaced loneliness and emotional relationships. Both women struggle throughout the novel to find their identities, but are unable to do so without each other. As Sula embraces difference and refuses to conform to society's norms and expectations of a woman of color, "Why?" Why can't I do it all, why can't I have it all" (Morrison 142), Nel conversely tries to establish an identity by conforming to expectations: "You are a woman and a woman of color in addition. You can't act like a man. You can’t wander around independently” (Morrison 121). Both have far-reaching effects on their society, as both establish a strong community bond in different ways. Aris7 As Nel and Sula exist as a single entity, searching for their identity, Rosencrantz and Guildenstern Are Dead contains a similar concept with its two main characters. The characters, while possessing unique character traits, essentially respond to the needs of others and together satisfy a whole person. They spend the play searching for meaning and identity, as the characters themselves even confuse their names and in the end lose all sense of individuality: “Ros: We are Guildenstern and Rosencrantz. Guil: Which is which” (Stoppard 121). Just as Nel and Sula can never fully establish their identity together due to separation due to transcontinental distance, anger, and death, Rosencrantz and Guildenstern never discover themselves or their purpose in life. Likewise, Rosencrantz and Guildenstern imitate the people around them and fulfill certain roles. as many of Sula's characters do to fit into society. In both works, characters attempt different activities in hopes of fulfilling a goal, but fail to do so. Stoppard's play's discussion of character identity and complementarity compares greatly to that of Morrison's two-sided protagonist, Sula and Nel. Sula and Nel's search for identity by choosing to join or refute society parallels the desire for peace insinuated by the main character's name, which translates to peace. The search for identity throughout the novel by all the characters describes a society's desire to achieve peace and purpose. Many characters struggle and lack control, whether or not they participate in the society around them. Although Nel and Sula choose two different approaches to achieve the inner peace they desire, neither finds the identity and meaning they desire when apart. As girls, they comforted and protected each other, and despite the suffering caused by family problems, they had the peace they tried to restore as adults. When Sula returns, this tranquility is restored for a brief moment, until Sula, believing that the bond where the couple shared Aris 8, everything, including romantic partners, still exists, inadvertently betrays Nel. As Sula lies dying, she momentarily believes that the childhood peace they gained,.