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In an informative article which discusses Toni Morrison's authorial voice along with her deconstruction of Western realist epistemology Susan Sniader Lanser focuses on the two areas that Morrison highlights in her depiction of individual life and behavior - the inexplicable, and the unknowable. The first revolves around the idea that characters and events cannot be explained with certainty since it's "impossible to assign causes to consequences or to delineate clear boundaries of duty" (Lanser 131); moreover, human behaviour "stays only partially amenable to explanatory forms" (Lanser 132). The unknowable, meanwhile, has to do with the inarticulable or "what Truth has designated non-existent or impossible" (Lanser 133). On the one hand that the inexplicable conveys a recognition of life disorder' and of person's robustness and number; on the other the unknowable evokes a sense of the mystical. As Lanser's reading reveals Morrison's strategy is in keeping with the postmodern literary issue using reinterpretation and reinvention; her treatment of the individual condition reveals the "inadequacy of white European methods of understanding" (Lanser 133). In so doing she constructs an authorial place that connects with all the folkloric vision of African-American experience and, I would add, with black female creativity. Concerning culture and epistemology the curbed or marginalised assumes authority. Even though Lanser's opinions are directed in the author's earlier works the narrative voice in Morrison's most up-to-date novel, Jazz, makes evident that the inexplicable and the unknowable remain fundamental to her portrayal of African American life. The book opens with the terse pronouncement from the narrator: "Sth, I know that girl" (3). What follows is a winding nar...