Song of Solomon Assertions
Milkman as a biblical character
In her novel, Song of Solomon (1977), Nobel prize winner, Toni Morrison, implies that the plot’s protagonist, Macon “Milkman” Dead, is a representation of the baby from the Old Testament story of Solomon in the way that “Everything [his parents] did seemed to be about him, yet nothing he wanted was part of it” (165), bringing Milkman closer to feelings of abuse and of being the object of a manipulative scheme. Morrison effectively expresses this similarity by supplying Milkman with apathetic tendencies that are clearly derived from his lack of control in the proceedings of his life, as well as the internalized perception that his parents constantly attempt to exploit his existence to their personal advantages, as shown in Macon's admittance to being relieved that "His son belonged to him now and not to Ruth, and he was relieved at not having to walk all over town like a peddler collecting rents" (63), without allowing Milkman to benefit from this unwanted attention. Using the not-so-subtle title of the novel as a pointer, Morrison juxtaposes her story with that of the Bible’s in order to grasp the attention of the public and forcing them into the realization that morals are meant to be practiced, that humans will easily lose themselves and turn a child, a fellow human, into an inanimate object holding worth in only social and economic standing. Morrison uses a didactic yet hopeless tone to illustrate Milkman's distant understanding of his role in his parents' feud, yet he fails to come to terms with his own abilities to remove himself from the complicated equation that is familial relationships.
Song of Solomon Ch.9 Assertion
In her famous novel, Song of Solomon (1977), Nobel Prize winner and pronounced feminine, Toni Morrison, postulates the possibility that magic and superstitious undertones hold a pertinent influence on the actions of the story's characters through Pilate's confession that she is often inspired "cause Papa told her to" (208), even though he is dead. Morrison enhances this idea via Pilate's journey into adulthood as "she spoke often to the dead" (149) and followed her father's instructions to return to her origins because "you just can't fly on off and leave a body" (147), encouraging Pilate to develop her sense of responsibility and duty to humanity. Morrison furthers the theme of elusive magic by inspiring Magdelene called Lena to confront her brother, Milkman, for having killed a maple tree by peeing on it, when in reality, Lena has lost her docility towards Milkman and her father due to the f act that their actions have reached a tipping point in her patience and compliance. In order to connect the magical strains with reality, Morrison provides a pragmatic and relatable tone while explaining mystical events, which are followed by reassoned and justifiable reactions.