Preci Voyage in Song of Solomon

Milkman as a Blind Traveler


The Novel Song of Solomon, by Toni Morrison (1977) throws readers into a whirlpool of assumptions--one being suggesting Milkman as a blind traveler that is unknowingly hitchhiking through life, fumbling for direction that isn't tainted. Morrison states, ,"He didn't mean it. It happened before he was through.. It was becoming a habit--this concentrations on things behind him. Almost as though there were no future to be had (Morrison 35). She employs us, providing us with Milkman's conscience--in which we become eyes that are plastered to the glass of a revolving door. Milkman was never provided with ethical development nor a pure path; instead of depicting that from the confetti chaos given--he has to adjust to the developments around him in order to grow--such as Guitar. Guitar stands as a sign in the street; not an ordinary one, but one that is crafted of symbols in which it is impossible to read--yet Milkman can understand it. As the page number increases, the amount of awareness Milkman has about himself grows. Morrison gives us a child that is malnourished of development and moral; in which Milkman's life becomes a traveler's game of hide and seek. Milkman must hide from the cycle of unhappiness and betrayal that lives in his shadow, and seek cleansing in the identity that belongs to him.

Hagar as a Slave


In the novel Song of Solomon by award winning author Toni Morrison, (1977), we are faced with a relationship that goes beyond blood. Assert that Hagar is a slave not just to Milkman, but to the cycle of isolation that her mother and grandmother have also been serving their time to; that similar to Sarai in the bible, Hagar is Sarai's slave and is sold old to another individual--in which she is barricaded by her unorthodox love for Milkman. "What fool is gonna give a colored women a pistol?" (Morrison 119), Morrison sets up a scenario in which Hagar is seen as a leech on its journey of obtaining nutrients--yet killing its' host at the same time. Love in their relationship was never balanced--causing a constant rift to occur throughout. At the beginning of their relationship, Hagar started off as the one holding the leash, but Morrison switches Hagar to the other side, in order to support the constant occurrence of women in this novel being voiceless and subservient to men. Her tone illustrates Hagar as desperate and unstable in which she regresses in development of character. Morrison's tone creates a sense of presence that brings fiction into our reality instead of reality just existing outside of the book.

Milkman Branching into Huck Finn

In the novel Song of Solomon by Nobel Prize recipient, Toni Morrison (1977), we can suggest that Milkman has swapped out his ironed jeans, glossy watch, and a wallet full of hundreds for swamp water and foreign berries--tackling on the way of life as Huck Finn. "He was his own director--relieving himself when he wanted to, stopping for a cold beer when he was thirsty, and even in a seventy-five dollar car the power was strong." (Morrison 260). Milkman has lived his entire life confined in his own version of "The Truman Show", in which his reality was fixated on what those around him thought was ethical--such as his employment and appearance. However, when he exits his stage he transforms--becoming rooted with himself. Morrison laces Milkman up for his journey down his own river in which "Bits of skin still peeled from his toes" (Morrison 271) in order to continue to shed the skin of who he thought he was--and give life to who he actually is--much like Huck Finn does when he runs away from the Widow Douglas' house. Morrison uses diction and tone that reminds the reader just how undeveloped Milkman's character is. Milkman's thoughts aren't complex, yet the closer he gets to when Morrison places him in the forest--his thinking transcends.

Milkman as a Butterfly

In the bildungsroman Song of Solomon, by award winning Toni Morrison (1977), we can claim that Milkman was in fact a butterfly. "He didn't need no airplane. Didn't need no fuckin tee double you ay. He could fly his own self," (Morrison 328). Milkman's purpose in life was to not be rooted--but suspended in the clouds, in which he would be free of the odors of those burdens that lingered around him. Like a butterfly, Milkman was unaware of the flight that awaited him due to growing up surrounded by futile caterpillars. However, when he leaves the "nest" he is able to fully develop in which Morrison places him in a cocoon upon entering Virginia and allows the truth of his identity help him transform into his final stage of growth when he takes his final leap; in which Milkman finally listens to what Guitar once said, "Wanna fly, you got to give up the shit that weighs you down," (Morrison 179)--Milkman drops the plastic mask he was given, that was covered with unclaimed burdens, insecurity, and disproportional love--swapping them out for love for himself and those who are extensions of himself, such as his parents. Morrison incorporates hidden symbols and imagery in chapter 15, that support Milkman's blossoming; she constantly drops the color green--in which green symbolizes life, nature, and growth. Morrison tells us readers that it is Autumn; Autumn is seen as representing the evolution from youth to adulthood. Milkman becomes unchained through the diction Morrison chooses in which the book ends with a sense of ownership in which Milkman understands the true meaning of flight, "If you surrendered to the air, you could ride it," (Morrison 337).
Myth and Flying Africans 2:52 - 4:39