Collected Essays: The Song of Solomon

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the motif of death Berk Gedikoglu–Grade 11

In The Song of Solomon, Morrison uses the motif of death, and its representative traits to demonstrate Macon Dead’s beliefs of transcending his race, and the inherent futility and dangers of those beliefs. While “death” comes up a lot in the novel, the most significant use of this motif occurs in relation to Macon Dead. For example, this motif is made clear when Milkman asks Guitar why he doesn’t eat candy, and Guitar responds that “it makes me think of dead people. And white p e o p l e . A n d I s t a r t t o puke” (Morrison 111). It’s evident that “dead people” represent people who are similar to Macon Dead. For one, the fact that Macon Dead’s surname is “dead” by itself gives reason to believe there is an association between the two. This view is only strengthened by its association with candy and white people. Though “candy” and “white people” seem to have nothing in common, only a few lines later it is revealed that in Guitar’s mind both are associated with wealth. If “dead people” is viewed as literal, then it breaks with this bond; however, if it is seen as a metaphor for people who share the same beliefs as Macon Dead, it fits very well, as Macon Dead often stresses the importance of economic prosperity, and ownership as the solution for black inequality. As the connection between Macon Dead, candy, white people, and affluence has been established, it is clear that the association of the words “dead people” and “white people” shows the futility of Macon Dead’s belief in economic mobility; by becoming “dead,” black people do not transcend their race, they simply become more similar to white people. Morrison extends this motif when Macon Dead Sr. tells Milkman about the doctor’s death, mentioning that he does “respect the dead” (Morrison 129). The doctor is described as “dead” because of his similarities to Macon Dead; this is evident

because both the doctor and Macon Dead are upper class black men who see greater value in the physical than the metaphysical. On top of this, the doctor being “dead” is a logical reason for Macon to respect him; being of the same rather rare breed, they have a deep connection (though Macon downplays this in his speech to Milkman). Also, the fact that both Macon Dead and the Doctor are described as cold reveals that these two characteristics are associated with death, thus adding to what it means to be

Writers’ Ink Issue 6 “dead”. Morrison develops the motif of death that his deformity is not simply physical but even further when Guitar is debating about also psychological; psychological vulnerability Emmett Till in the barbershop. This is done as of his identity is shown physically through the Guitar says “He dead. A dead man ain’t no defect (113). Morrison shows how Milkman man. A dead man is a corpse. That’s all. A slowly overcomes this defect through two corpse” (Morrison 141). By emphasizing that a incidents when he reflects upon his past. dead man “ain’t no man,” Morrison is pointing Through these incidents, he establishes new out that not only is material wealth not the understanding of people around him and this answer to black transcendence (as with the leads to more of his self-discoveries, which Doctor and Macon Dead), but that it strips a helps him to achieve his true identity. The first person of what makes them human. Also, the incident is when Milkman reflects upon his past fact that Morrison uses Emmett Till as her experiences with Pilate after coming back from example of a dead man is significant, as a police station. During this incident he Emmett Till was murdered by a white person; establishes new understanding of Pilate and thus, the association between death, white learns more about himself by realizing how he people, and wealth is not only reinforced, but had been treating her. Shortly after returning the nature of this association is revealed. The from a police station with Pilate’s help, he fact that white people in this case were recalls his memories with Pilate and responsible for, the “death” of Emmett Till understands how important Pilate is in his life. suggests that they were in the same way Milkman realizes that Pilate is “… an old lady responsible the “death” of Macon Dead or, in who had cooked him his first perfect egg, who other words his drive for wealth. This is had shown him the sky…a place where he certainly a fitting point, as not only would belonged to” (344). This new understanding Macon Dead not have a desire to transcend his about Pilate leads Milkman to learn more race and thus yearn for economic mobility had about himself as he realizes how shamefully he white people not been in a seemingly better has been treating her. All the while thinking position, but wealth is seen throughout the and acting like he can “…knock her down… novel as something associated only with white while he was in act of stealing it.” (344) As culture. " Milkman recalls his past and learns more about deformity was mostly in his mind” suggesting himself and his action, Morrison states that Milkman’s “… left one (leg) looked just as long identity and the past as the other” showing that gaining new understanding of his relationships has helped Kyoung Hwa Kim–Grade 11 him to learn more about himself and get closer In The Song of Solomon, Morrison uses the incident, in the forest of Shalimar, Milkman physical change in Milkman’s leg as a symbol to thinks back to his relationships with his parents reveal the theme that one’s true identity can and Hagar, and not only establishes a new only be only achieved when one reflects upon understanding about them, but also learns and learns from one’s past. The different more about himself by realizing the way he has lengths of Milkman’s leg throughout the story been acting towards them. By looking back at symbolize the unstable state of his identity and his relationships with his parents and Hagar, he Morrison uses it to contrast before and after realizes that they are treating him just as they Milkman has achieved his true identity. When should have been. It was natural for his parents Morrison first introduces the different length of to tell him their accusations of each other as Milkman’s leg, she describes that “The they are his parents, and for Hagar, who was to his true identity (343). During the second 29

Writers’ Ink Issue 6 abandoned from him, to try to kill him as even a stranger can try to kill him. This leads Milkman to learn more about himself as he realizes that he has been acting very selfishly. In the past, he thought he didn’t deserve “mutual accusation from his parents” nor “Hagar’s vengeance”, but he realizes that he has been acting selfishly as if he only deserves to be loved. After this new revelation about his relationships and himself, Milkman has overcome his defect that “he did not limp” meaning that he has achieved his true identity (454). Morrison specifically used Milkman’s leg to shows how Milkman’s achievement can truly liberate him as no one can move freely when they have problem with their legs. Through this, Morrison gives us a greater message that African Americans who are struggling with their identity due to double consciousness have to find their true identity to liberate themselves. !

looking back as symbol Tony Yoon–Grade 11

In The Song of Solomon, Morrison symbolizes the act of ‘looking/turning back’ to reveal Milkman’s spiritual attachment to Macon Dead and his struggle to discover his own identity through four significant events. Morrison first uses the symbol of ‘looking back’ during the family rides on the black Packard. During these Sunday afternoon rides in the Packard, Milkman was forced to sit on the dove grey seat facing the back of the car as Macon did not allow him to sit on Ruth’s lap. Morrison writes, “But riding backward made him uneasy. It was like flying blind, and not knowing where he was going —just where he had been—troubled him.” By having Milkman face the back of the car and “flying blind” and “not know where he was going,” Morrison reveals Milkman’s lack of self-identity not being able to see his path forward but only looking back at the path he has passed. It also shows his reliance on Macon Dead to lead him, which is symbolized by him driving the Packard. This foreshadows Milkman’s future journey for self-identity by having him feel ‘uneasy’ riding backwards,

showing his natural urge to be himself. Morrison reintroduces the symbol of ‘looking back’ when Milkman urinates on his sister. Instinctively led by his sister’s footsteps behind him, Milkman turns around in the midst of urinating and wets his sister’s dress. Morrison describes this as, “It was becoming a habit— this concentration on things behind him. Almost as though there were no future to be had.” Through this, Morrison indirectly reinforces the idea of Milkman’s lack of selfidentity by depriving Milkman of hope and future. This reveals Milkman’s seemingly unalterable destiny to simply follow his father’s steps rather than construct his own. The third significant event in which Morrison uses the symbol of ‘turning back’ to reveal Milkman’s struggle for self-identity is seen after he assaults his father. After standing-up to his father’s violence towards his mother, Milkman looks at the mirror feeling both pride in standing up to his father, but confusion at what he had done. Morrison describes Milkman’s inner struggle as, “It was all very tentative, the way he looked, like a man peeping around a corner of someplace he is not supposed to be, trying to make up his mind whether to go forward or to