Deacon Morgan and Multiple Personality Disorder in Toni Morrison's Paradise

Toni Morrison's Paradise is perhaps her most challenging novel. The story of the small town of Ruby, Oklahoma, and its inhabitants throws at the reader dozens of characters and plotlines simultaneously. Consequently, there are many questions as to some facts and certainties in the novel. Deacon and Steward Morgan, the two central figures in the novel, are viewed from several perspectives during the course of the novel, including their own. Each perspective gives clues into the truth in the story of the twins, although, typical of Toni Morrison, certainties are not to be found.

Though difficult to make a definitive statement about any character in Paradise, it is clear that the "twins," Deacon and Steward, are not really twins at all. Deacon Morgan displays tendencies found in sufferers of Multiple Personality Disorder, or MPD. MPD is difficult to understand. "Any attempt to understand MPD must first detour through anthropology, because although multiplicity is not a cross-cultural given, what is common to many societies is the feeling among some of its members that they are being meddled with by outside forces" (Nathan 86). Deacon creates his twin, Steward, upon returning from World War II and finding his home, Haven, depleted and destroyed. Deacon reacts to the shock of finding his home in shambles by creating a stronger-willed brother who would embody the traits of his father and grandfather, traits Deacon felt he did not possess. Deacon needed Steward to give him the strength to create a new Haven to protect his town from the outside world.

Morrison makes it difficult to come to such a conclusion about Paradise. The author gives the reader just enough information to formulate her own ideas about the text. The author has said, "If you give him enough of the outline, enough suggestion...if you give him the language, he will understand" (Bakerman 59). Morrison is deliberately vague when describing Deacon and Steward, leaving the reader just enough room to pick up her clues and piece them together.
Morrison's only short story, "Recitatif," (1983) demonstrates the author's penchant for leaving the reader with questions about her characters. The story focuses on two girls that become friends in a shelter for girls after experiencing conflict resulting from racial difference. Morrison never reveals which girl is black and which girl is white. "The story reveals the similarity in the stereotypes black people and white people create about each other" (Reames 15). Morrison also uses this tool in Paradise, as the author deliberately neglects to mention which of the women in the Convent is white.

The decision to give Deacon Morgan a twin could be linked to traditional African customs regarding twins. Morrison frequently draws upon African mythology and history in her novels; therefore, it stands to reason that the choice of making Steward a twin, and not just a brother, or even a friend, was deliberate. The Auin tribe of South Africa has a custom of burying alive one twin immediately following the birth of twins. Among the Bergdama, "the birth of twins spreads fear and terror in the kraal, for it is looked upon as an omen" (Shapera 118). Deacon and his twin, Steward, are the omen forecasting the impending doom of the town of Ruby, and the ideals of Haven, Oklahoma.

Morrison utilizes doubles and multiplication throughout the novel. Deek and Steward are "twins," Soane and Dovey are sisters, Jeff Fleetwood has twins; characters are defined by their status as part of a double throughout the novel. "The Morgan twins, Deacon and Steward, epitomize unified authority; they share one memory, one purpose, and one belief until the murders that July day divide them" (Krumholz 21). Deacon sees into himself and what he does and does not want to be by looking at Steward. "Getting outside their hitherto closed, self-destructive egos enables them to see themselves, to interpret themselves, and thereby to begin to cure themselves," as Deacon begins to do at the conclusion of the novel (Page 642).

Upon arriving in Ruby as an outsider, Reverend Misner notes that "rather than children, they wanted duplicates" (Morrison 161). The town of Ruby is an attempt at duplication of the town of Haven. Even the cross serves as a double. Reverends Pulliam and Misner disagreed which cross was the correct one to use. The question was raised as to whether Jesus should be displayed on the cross, or whether it should remain empty.

Morrison also utilizes doubling as a narrative device in the novel. Often in the novel, the same story is told twice, from a different perspective. The most important of these instances is the attack on the Convent. The novel begins with the attack from the perspectives of the various attackers. Towards the end of the novel, the story is from the perspectives of those being attacked, as well as other townsfolk from Ruby. Ironically, it is this, perhaps the most important story in the book that is doubled and multiplied to the point of distortion. The people of Ruby distort the story of the attack on the Convent, each putting their own unique touch to the tale. These examples of doubling in the novel mirror that of Deacon and Steward; there is some kind of distortion of reality, some distinct difference or opposite that separates one from the other. Steward and Deacon are opposites. One had a "fierce preference for Chevrolets, the other's stubborn defense of Oldsmobiles" (Morrison 155). Ruby is the antithesis of what the founders of Haven wished for, and the attack on the Convent goes from a seemingly noble attack against the hands of Satan to a brutal and savage killing of five eccentric, however, innocent women.

The stories of the founders of Haven, and their journey through racism and hatred to get there, are imbedded in the Morgans, and many of the people in Ruby. The history of the Morgan family was well documented, and was considered to be a bible for Deek and Steward. The attempt to replicate Haven as Ruby is an example of adhering to the mythology that surrounds the founders of Haven. Reverend Misner notes upon his arrival in Ruby, "Over and over and with the least provocation, they pulled from their stock of stories and tales about the old folks, their grands and great-grands; their fathers and mothers. Dangerous confrontations, clever maneuvers. Testimonies to endurance, wit, skill and strength. But why were there no stories to tell of themselves? About their own lives they shut up. Had nothing to say, pass on. As though past heroism was enough of a future to live by" (Morrison 161).

The true story of the founding of Haven became distorted into a mythology Deacon was desperate to recreate, an impossible idea of Paradise that never really existed. As a child, Deacon heard the story of the separation of his grandfather, Zechariah, and his twin. Pat Best, a resident of Ruby who attempted to complete a genealogy of Ruby, notices discrepancies in the Morgan story provided by the family. She wondered, "what the heavy ink blot hid next to Zechariah's name in the Morgan bible" (Morrison 188). Perhaps Zechariah suffered from some sort of a breakdown following the death of his twin, and erased the sibling from memory. Or perhaps the twin Deacon was told about as a child never really existed, and was therefore deleted from the Morgan bible. Deacon drew from his own family's mythology and created his twin, Steward, perhaps just as his own grandfather had done before him.

Through the actions and statements of other characters throughout Paradise, the reader finds more evidence to support the fact that Steward Morgan does not exist. Deacon Morgan had two sons, Easter and Scout, who died in Vietnam. There is no one to carry on the Morgan name except K.D., who is much maligned within the family. "In a world based on family - a world of their own making - they had no one to carry on the line" (David 158). Steward is a creation, and therefore he is unable to have children with his "wife," Dovey. There is no other link in the Morgan family that shows an inability to reproduce.

When Reverend Misner and Anna Flood are discussing the Morgans and their entitlement to the esteem the seemingly possess in Ruby, Anna tries to explain why the citizens of the town seem to hold Deacon and Steward in deference. Anna finally gives up, telling Richard, "You're making my head ache. Where you come from, all that might be true. Ruby's different" (Morrison 117). It seems as if the truth about Deacon is a dirty little secret in the town of Ruby. Out of respect for Zechariah, who may have suffered from the same condition, the members of Ruby play along with Deacon and regard Deacon and Steward as different people.

Billie Delia, another resident of Ruby who is different from the other townsfolk, is treated quite differently compared to Deacon. Billie Delia is a light-skinned black girl, and is therefore not part of the esteemed 8-Rock group of dark-colored African-Americans Ruby sought to preserve. An automatic outsider because of her skin color, the residents of Ruby could not acknowledge openly the reasoning for treating the girl poorly, so they constructed a story of sexual promiscuity about the girl when she was a young child. Billie Delia senses a difference in how she is treated by the Morgan women. "Nor did Anna or the Morgan ladies make her feel the freakishness in being an only child" (151). Soane and Dovey treated Billie Delia kindly because they knew it was unfair to treat the girl poorly, and they were sensitive to the difference in her because of Deek's condition.

Soane and Dovey Morgan are sisters who are married to the "brothers." The sisters are opposites of the other, and do not seem to interact directly often in the novel. Soane is actually married to Deacon; however, to the townsfolk, Dovey is the wife of Steward. It seems out of a sense of propriety, the residents of Ruby created a wife for Steward. Dovey spends most of her time alone in a foreclosed house owned by the Morgans. She rarely interacts with her "husband." In fact, she often fantasizes about a mysterious male visitor who often visits her at the lonely house. Dovey seems to have convinced herself that her relationship with "Steward" is genuine. After the attack on the Convent, and the subsequent murder of Consolata, Dovey asks Soane, "Why did they do it?" Soane replies, "They? You mean 'he,' don't you? Steward killed her. Not Deek" (Morrison 292). Dovey tries to continue the masquerade, however Soane believes it is time to move on and face the truth. "It is an exchange that alters their relationship irrevocably" (Morrison 292).

Imbedded in the narrative are many descriptions that also hint at the falsity of Deacon and Steward as twins. As the novel begins and the men are attacking the Convent, the reader is first introduced to Deacon and Steward. "The brothers approaching the cellar were once identical" (Morrison 12). The statement suggests that the brothers are no longer identical, which implies that at the conclusion of the novel, Deacon will successfully separate himself from Steward.
While discussing Reverend Misner's non-profit credit union, Morrison writes, "Like a piggy bank, Deek said. But Steward said, Yeah for now" (Morrison 56). The dialogue does not contain any quotes, which would suggest a normal dialogue between people. Other dialogue from the two men contains quotes; however, this is when Deacon and Steward are talking to other people. The words are actually leaving the mouth of Deacon and Steward. The previously noted dialogue is between the two characters, and occurs in the head of Deacon; therefore it does not require any quotes, as it is not actually spoken. Later, at the meeting between the Morgan's and the Fleetwood's, "Steward and Deek both cleared their sinuses at the same time" (60), another suggestion of oneness.
Following the meeting between the Morgan's and the Fleetwood's, Reverend Misner reflects upon the meeting, "They performed as one man" (62), as if it were one of the only times Deacon was able to control the personality of Steward to successfully negotiate with the Fleetwood's. Steward is more aggressive than Deacon, and his aggression started the meeting off negatively. Deacon was able to contain Steward long enough to pacify the situation. Reverend Misner acknowledges Deacon's accomplishment.

Deacon seems to converse with himself at other times in the novel; however, differently than the discourse between Deacon and Steward. While riding in his expensive car, "He laughed along with friends at his vanity, because he knew their delight at his weakness went hand in hand with their awe: the magical way he (and his twin) accumulated money. His prophetic wisdom. His total memory" (Morrison 107). Deacon is reflecting upon his own accomplishments, and those of his twin are enclosed in parentheses, as though they are an afterthought, and they do not count. "In fact the brothers not only agreed on almost everything; they were in eternal if silent conversation," the residents of Ruby noticed, "Each knew the other's thoughts as well as he knew his face and only once in a while needed the confirmation of a glance" (Morrison 155). The people of Ruby accept that Deacon needs Steward to exist, and it seems they acknowledge the internal struggle Deacon lives with every day.

During the affair between Deacon and Consolata, Deek does not share much information with his mistress. During one of their meetings, Deacon confesses to her, "I'm trying to get on in my life. A lot of people depend on me" (Morrison 230). Connie acknowledges that Deek is married, and states simply, "I know," to which Deek replies, "What else you know," in an almost accusatory, if not frightened way (Morrison 231). Deacon seems afraid that his mistress will discover his secret disorder. Later, following another rendezvous, Deek tells Connie, ""I have a twin." Consolata sits up. "There are two of you?" "No." He closes his eyes. When he opens them he is looking away. "There's just one of me"" (Morrison 232). Deek wants Connie to believe that he is in control of his mind; however, it seems that both he and Consolata are aware that this is not the case. Following the discourse, Deacon and Consolata meet less frequently until the relationship is ended. It is as if Deek does not want to be with someone who sees the truth within him and will not play along. Later in the novel, Deacon begins meeting with Reverend Misner to discuss his problems. These are the only times in the novel Deacon opens up about his condition.

Lone DuPres, a practitioner of black magic who taught her craft to Consolata, has a keen awareness of Deacon and his struggle with Steward. Lone recalled the affair between Deacon and Consolata. "How off the course Deek slid when he was looking in those poison and poisoning eyes. For months the two of them had met secretly, for months Deek was distracted, making mistakes...Steward seethed at the thought of that barely averted betrayal of all the owed and promised the Old Fathers. But a narrowly escaped treason against the fathers' law, the law of continuance and multiplication, was overwhelmed by the permanent threat to his cherished view of himself and his brother" (Morrison 279). Through her black magic, Lone is able to enter into a person, which Connie used to save Scout Morgan. To have this kind of depth in knowledge into the feelings and thoughts of Deacon and Steward, Lone must have entered into Deacon using her powers.
During the attack on the Convent, Deek stands face-to-face with Connie, years after the conclusion of their affair. "He looks at Consolata and sees in her eyes what has been drained from them and from himself as well. There is blood near her lips. It takes his breath away. He lifts his hand to halt his brother's and discovers who, between them, is the stronger man" (Morrison 289). His inability to control Steward and prevent Connie's death provokes Deacon to try and conquer Steward.

When the people of Ruby confront Deacon and Steward at the Convent, Deacon finally conquers Steward,
"The evil is in this house," said Steward. Go down in the cellar and see for
yourself."
"My brother is lying. This is our doing. Ours alone. And we bear the responsibility (Morrison 291).

Deacon acknowledges his will to defeat Steward to the residents of Ruby, "Deacon is now for the first time on his own, fully separate from his twin. Like the town, Deacon moves from a restrictive fusion to a liberating fragmentation" (Page 645). Later, Deacon has to "translate into speech the raw matter he exposed to Reverend Misner" (Morrison 301). Misner did not understand the cryptic nature of Deacon's confessions; however, he hoped to help Deacon change his life, which had become "uninhabitable" (Morrison 302).

Paradise is a novel with complicated characters and a woven mythology. "Its characters are not real because Toni Morrison didn't intend them to be real" (David 169). Discrepancies abound in the novel, with inaccuracies in numbers and facts. While Morrison often refers to Deacon and Steward Morgan as brothers, evidence in the novel overwhelmingly demonstrates that Deacon Morgan suffers from Multiple Personality Disorder. Morrison deftly weaves a tale about the town of Ruby and its inhabitants, while addressing deeper societal issues.

Works Cited
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