The aim of this paper is to study Jazz by utilizing Kristeva`s concepts, negativity and aesthetic fetishism which are crucial in clarifying a genotext. Genotext is defined by Kristeva as a text which encompasses both unconscious and conscious processes in signification. In this paper, it will be shown that some prominent features of a genotext such as plurality, heterogeneity, and contradiction are pervasive in Jazz. Moreover, unlike other Black writers, Morrison`s Jazz does not so much refer to blackness, a representative form of jazz aesthetics as to genotext. An event called `Lenox Street Scandal` is repeated like the riff of jazz music in Jazz. Tracking the past experiences and psychological symptoms of three characters related to the scandal, we discover that it`s main motivation is a desire for the fulfillment of the primary detachment from the maternal body. It is the desire that Lacan names the unconscious and designates as a generative motivation of language. The desire - a precondition to fuse subject with object - is a force to blur the symbolic order which is supported by the binary oppositions. When it is erupted in the symbolic order, psychoanalysts outline it as fetishism or schizophrenia while it is categorized as aesthetic fetishism in literature. In the same light, Jazz can be said to be the aesthetic fetishism.