Image of Flying and Elements of the Blues in Song of Solomon

Analysis of Morrison’s Use of Language in Song of Solomon

Song of Solomon by Toni Morrison is very much a book about language, how it is used, and the meanings that are conveyed by its usage. At the very beginning of the novel, one finds a little black boy trying to correct a white woman about grammar and having instead to turn to his grandma, because the white woman has already stopped listening: “Granny, she left out a s.” “And a ‘please,’” says the Granny, indicating the link between language and manners (Morrison 7). In the same opening, Morrison discusses the meaning of “Not Doctor Street,” “Doctor Street,” and where these terms come from and how they are used—how some language is “officially” recognized and some is not. This is all interwoven with a suicide spectacle, in which the suicide note tells of a man who wants to fly away with his own wings. Running through the novel, as in this opening, are references to the power of language, the power of symbols, the meaning of words, and how people use them to empower themselves or disempower others. Morrison’s novel simultaneously incorporates the elements of African American culture and mythology, along with the various issues affecting the 20th century American community. As a whole the novel outlines the characters' struggles for identity and acceptance, demonstrating how personal narratives are deeply entwined with language, culture, a sense of place, and a sense of being. Language is at the heart of this exploration because words are what help one to soar, to transcend, to rise up, and to fly in the imagination—and, as a novelist, Morrison knows that.

One central motif in the novel is the idea of Africans who could fly, a symbol of innate freedom and power, and also a reference to something which was later stripped away due to the hardships and injustices they faced in slavery. This idea becomes a central motif, shaping the characters' motivations and desires, from the opening story of the suicide who wants to leap from a building a fly with his own wings, to the song of Solomon that the children sing. This motif of flight is everywhere: Milkman Dead, the main character, embarks on a quest for self-identity so as to realize his individual potential. He struggles with familial obligations while striving to regain the symbolic "power of flight" and his journey toward self-discovery is marked by his struggle with understanding his heritage and personal identity. Naomi Van Tol's article "The Fathers May Soar: Folklore and Blues in Song of Solomon," helps to bring focus on the pervasive influence of the language of folklore and blues in that Morrison interweaves throughout the novel, so as to make this journey of Milkman Dead and others all the more real and significant for the reader.

Van Tol argues that Morrison reimagines and expands traditional African American folklore and blues music to articulate the experience of her characters. The flying myth, which originates from African folklore, serves as a metaphor for escape and liberation. However, Morrison also carefully constructs the narrative so as to echo the rhythm and themes of blues music, wrapping the novel in the tones of the blues, the meaning of the blues—its melancholy, its yearning, and its emphasis on personal and communal history. The novel is infused with the language of the blues.

Examining Morrison's language use, one can also see that she infuses her prose with a lyrical, musical quality that resembles blues. This is evident in the way she details the lives of her characters, like Milkman, who grapples with a profound sense of displacement and dissatisfaction, common themes in blues music (Van Tol). The importance of naming, which Van Tol also emphasizes, connects to the tradition of storytelling in blues music, where histories are preserved. Morrison's character names in Song of Solomon are meaningful, as they convey histories, identities, and tales of their own. For instance, the lines "O Solomon, don't leave me here. Cotton balls to choke me O Solomon..." are full of meaning (Morrison 300). The repeated invocation of the name 'Solomon' and the rhythmic structure of the phrase is reminiscent of the call-and-response tradition in African American music, particularly blues and spirituals. The name of Solomon also has a biblical reference that supports one of the main themes of the novel—power and oppression: Solomon had power as king of Israel, but he also tried to kill and oppress others. But that is not the only identity associated with the name Solomon.

The lyrics described above are heard when Milkman Dead is in Shalimar, Virginia. It is a crucial turning point in Milkman's journey to understand his roots and cultural heritage. The song also evokes Solomon, an ancestor who purportedly flew back to Africa, abandoning his wife Ryna and their 21 children. These names and stories are part of the oral tradition Milkman discovers in his visit to Shalimar, a remnant of his family's history. The language in this song, filled with blues motifs, conveys the sorrow, abandonment, and despair faced by those left behind—represented by Ryna—and emphasizes the lasting impact of these emotions. In essence, Morrison uses this type of language—steeped in African American cultural traditions—to support Milkman's journey and transcend the harsh realities of life. The blues tradition, characterized by its emotional expressiveness and rooted as it is in experiences of suffering and longing, is helpful in this way.