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"All you need is the story..."- Tim O'Brien
"Literature has been the salvation of the damned, has inspired and guided lovers, routed despair, and can perhaps...save the world." John Cheever
33 comments:
There were a lot of things I found interesting in these two chapters. The first was Pilate during the whole jail scene. Her change in height displayed Morrison’s use of magical realism yet again, but this time I didn’t mind it. I wonder if it was purely Milkman’s imagination or not, but regardless I liked how Pilate became a smaller person in front of the white cops, not only in the way she acted but also her actual size. I could see Morrison’s purpose for using the magical in this scene. I also found the peacock and rose petals very intriguing. I like how this colorful imagery has come back, mirroring the opening scene of the book. The white peacock with blue feathers is like the white snow and Robert Smith’s blue wings.
I thought the symbolism in these two chapters was really interesting. We got to see the rose petals again with Corinthians and Lena, but I really loved the image of the white peacock. The peacock's wings, which Guitar likens to jewelry, are obviously representative of luxuries that are, for the most, part unattainable in the Southside. It's inability to fly "no better than a chicken," is a result of all this "jewelry," according to Guitar. He says, "If you wanna fly you got to give up the shit that's weighing you down." Clearly it's a direct reference to Milkman. His money is what leads him in the wrong direction, towards alcohol and sex. Milkman keeps mentioning that he wants to break free, leave home and find himself. The way he thinks he can do this is by stealing the gold from Pilate, which he technically doesn't need. If he had gotten it, I don’t think he’d actually end up being “free.” Like, Guitar said, you have to be able to get rid of everything that’s pulling you down, and the gold would only be further temptation for Milkman. This scene definitely accentuates the gap between the levels of maturity of Guitar and Milkman
I loved that Lena, at the end of her confrontation with Milkman, said “I don’t make rose petals anymore, and you have pissed your last in this house.” We mentioned on the first day of class that the roses represented a sort of artificiality. So, in this scene, it was as if Lena finally stopped ignoring her family dynamic and Milkman’s actions; she’s finally able to stand up to her brother.
What I found interesting was how much we learned about characters that we took for granted in the preceding chapters. We learned more about Pilate, about Corinthians, about Magdalene called Lena, and about Macon. Most importantly, though, was the characterization of Milkman through these secondary characters. Not only is Milkman's immaturity reaffirmed, but it spreads into a new light. For example, Magdalene's speech at the end of Chapter 9 shapes Milkman's immaturity into selfishness, and a desire for power that makes me reevaluate some of Milkman's prior actions such as his beating of his father, which Magdalene points out. I also liked how Magdalene makes the point that Milkman has figuratively been peeing on people. Its a very true statement, and reminds me how spoiled Milkman is, and while some of the tensions in the book may be black vs. white, some are also rich black vs. poor black, a sort of class strife amongst a racial divide.
Milkman also comes to learn more about his history in this section, about what Pilate really did back at the cave, and the story when he peed on Magdalene. Once again, I feel that his history and sense of belonging to a family and a society is becoming even more important as his immaturity drifts him farther and farther away from connection within his own people.
Milkman's desciption of Pilate's height changing throughout the sequence with the police is very interesting, and is something I would want to discuss in class because I didn't quite grasp the full meaning behind it. It might be related to her sense of power, but I think it could also be something more than that, because Morrison isn't subtle, but she also isn't shallow.
The peacock imagery was also interesting in that it began as being characterized as a "white peacock", but at the end of the chapter, it was just a peacock that Milkman and Guitar saw. This could be important as Milkman attempts to discover his own identity and struggles with that crisis.
There is so much more to discuss, that I'll want to save some for class, but I'll end with this quote I found to be very funny, but also very meaningful to the story as well.
"You got a life? Live it! Live the motherf***** life! Live it!" - p. 183
I also really appreciated Pilate in that scene - her self-debasement to protect Milkman is just what I would expect of her. I <3 Pilate!! Though I do have to admit, keeping the bones was very weird, it's oddly fitting. Pilate shows herself to be, as always, nontraditional but strong and self-confident.
I really enjoyed getting to know Milkman's sisters, who till this point have been just bible names; just like they have been non-characters to Milkman until Magdelena confronts him. Like Pilate, Lena and First Corinthians are very strong, full-fleshed female characters. They further emphasize Milkman's inability to grow up; in "telling on" Corinthians, as if they were children, Milkman only shows himself as a coward.
What did I find interesting? First, I really loved the description of the peacock and thought that it was a great symbol for Milkman; it was a white peacock and Guitar wanted to eat it, obviously Milkman is has never identified with the black community and he even expressed his fear in the last chapter that Guitar would turn his violence towards him. Also, just as the jewels and embellishments weigh down the peacock and prevent it from flying away, Milkman is weighed down by his family's past, which he can't let go of, and it is preventing him from leaving home and moving on with his life. When Milkman finally agrees to go along with Guitar's plan and "live the life," Morrison ends with the peacock spreading its wings and flying, just as he thinks he will after he steals the gold.
I thought it was interesting how much shame Milkman felt after the robbery. It shows that he underwent a spiritual change of sorts; and, right as he feels all of this shame, his uneven leg feels normal again, as if he is being healed and undergoing an internal transformation. In telling the story about Corinthians, especially the end when she and Porter are separated and he is kicked out of his home, Morrison is showing how Milkman's sisters are unaware of his change. Lena also evolves, which becomes apparent when she stands up for herself, her sister, and her mother (and all oppressed women?) while still unaware of Milkman's intentions.
I definitely agree with Jasper about the secondary characters. The only thing I knew about some of the secondary characters (such as Lena and Corinthians) is that Magdalene is called Lena. They both show how much a negative influence Milkman has been to the family. He has become what he father was when he was younger, the patriarch of an isolated family.
Both Corinthians and Magdalene could have made something of themselves if not for the oppression of their family. If there name was something else, instead of Dead, they might have been able to lead more normal lives. I also found the a LOT of symbols throughout the text (like Cathy said), most importantly at the end of the scene where Milkman kills everything that he urinated on (which I found weird yet important).
There was also a recurrence of the rose petal imagery and a flashback to the opening scene. Another perspective (that of the two young girls) was taken into account. I thought that it might be a somewhat useless perspective but I realized even more that Milkman is the epitome of a spoiled and tainted man. This is also supported by the scene in which both Guitar and Milkman dream about the money and the possibilities. Milkman thinks about spending it on petty luxuries that would only help himself.
Something that really hit me was the way Magdalene interpreted the scene where Milkman stood up to his father. She views it as a passing of a torch; from one overly dominate man to another.
I think it is every time I make the mistake of thinking that this book might give me something, it runs in a circle again. I was really sold on there being gold in the green pouch, and then the bones, just bizarre, but I guess I should've half expected that from Pilate. After the whole Seven Days incident, I really hated Guitar, and my dislike of Milkman went away, but his bringing Milkman into the whole "gold" situation just irritates me. On the dislike of Milkman, that whole last scene with Corrie and Milkman just really irked me, but I don't know if that is the right word. For Milkman to rat his sister out to his father like that, it just bothers me so much, that really strikes a nerve with me. These are not teenagers anymore, they are grown adults, and this kind of childish behavior is just appalling, but what I think bothers me more is that Milkman just has zero loyalty to anybody in his family, anybody who has been true to him. Yes, it was clear that he and Corrie did not have the closest relationship, but that is your blood, you don't just sell that out. I have a real problem with Milkman after this.
I was wondering when this was going to go up. I was like "I need to post on the blog!..... where is the blog?!" so now I'm taking a break from extreme note-taking for the Psych midterm to write this:
I really, really like this book. I no longer hate Milkman but I honestly don't like him either. I've started to dislike Macon and I sort of pity Corrie and Lena. Oh, and how old is Porter?! Dude must be like 70 by now! That's just... gross... Not that oldness is particularly gross or anything but old sex is... well that's just unpleasant. Toni's got some seriously messed up thoughts what with the old-person sex and RUTH'S ENTIRE CHARACTER and whatnot.
And what's going on with the peeing on a tree thing? Toni mentioned pee with Porter and then Milkman in the earlier chapters and I thought she would just leave it alone but then she just goes ahead and brings it back! That scene between Lena and Milkman was... well, honestly I was kind of on Milkman's side. Not ethically speaking of course, I mean you can't just go around peeing on people if you aren't R. Kelley. But from a purely "wtf" standpoint. It's like you're hung over, walking up the stairs after a rough 2 hours in jail (hopefully no soap was dropped but Guitar seemed pissed off so it's a definite possibility) and your sister says she's got something important to say. And what does she say? "That bush is dying, you peed on it, you peed on me, you pee on everyone! Why are you such an jackass?!" and you're just like "Um.... wtf? Haven't I not spoken to you in like 16 years? Yeah... I'm gonna go..." I totally get that!
And then there's Pilate who's just getting progressively more crazy. I really started to like her a lot when she was talking to Ruth about her life but seriously, what the hell is she talking about? I was under the impression that she left her 'husband' and never saw him again... so is it the dead guy in the cave that Macon killed for no reason (other that being really angry about his apparent diarrhea at the time) or her father or are they all one guy? I know that sounds weird but honestly, at this point, anything could happen.
Overall, I enjoyed it... unlike my psych book... which is not even remotely interesting... despite all the cool pictures of skulls and camels...
I thought that these two chapters were the most important so far in the development of Milkman's character. This was the first time that we saw Milkman being held accountable for his actions, first when he got arrested and second when Lena went off on him. I thought that this was really important because throughout the whole book Milkman has acted like a child. He has gotten whatever he wanted, acted however he wanted, only done what was easy, and had no consideration for everyone around him. Finally in these two chapters, Milkman was confronted about his actions. I thought that the scene where Milkman is in the bathtub thinking about feeling ashamed about being arrested for the kind of prank a child would pull was also very interesting. I liked how he described what specifically made him ashamed, like feeling like a child because his dad and his aunt had to come bail him out. I thought that that scene was really interesting because it is the first sign of some development and maturity in Milkman's character. I also thought that it was really well written. It didn't feel abrupt or unnatural to me, even though it is completly different from anything Milkman has thought or said so far in the book. I think that now, especially after how powerful Lena's speech was, Milkman will start to change.
I also have to say that I think Toni Morrison is an amazing writer. The whole story ties together really well. I love how the things from the beginning that you thought weren't important come back into the story. I also like how she leaves you with questions, but answers ones from before. And I think that the symbolism and language are beautiful but not over done. And as we said in class the dialogue, as well as Milkman's thoughts seem really realistic.
My love for Pilate is getting kind of ridiculous.
I loved the two monologues we got from these chapters, especially Pilate's. The entire idea of carrying a murder with you works perfectly with Guitar and Henry's life of crime. It also embodies the coming of age aspect of this novel, that you have to take responsibility for your own life and the damage you cause. I also thought Pilate's height was a fantastic use of magical realism. Pilate was initially described as larger than life, and to see her shrink in front of the cops kind of gives us a glimpse of how society sees her-- as someone completely isolated and insignificant. But Milkman understands what she's capable of, so she could never be short to him.
And I loved Chapter 9 and the development of the two sisters. I just found Corinthian's story to be so strangely compelling (to Morrison's credit, it always pains me to put this book down for the night), and I loved how shame seemed to permeate their stories. Corinthians is ashamed of Henry even though she's forty two and has every right to have a man, and it ties in with Milkman being ashamed of stealing the bones. Corinthians learns to put aside her shame and go after what she loves, so maybe Milkman's shame might also teach him something? I think he took something away from Lena's speech, although we have yet to find out what.
And I have lost all respect for Guitar because any enemy of Pilate is an enemy of mine. But I think his line about needing to cast away what hold you down to fly is the core of this novel and definitely has to do with the Sugarman song and the opening scene. I love how these chapters brought us back to that scene and built on the imagery and symbolism that was established.
Ok, I'm going to stop listing what I loved before I write the entire contents of the novel down. Night everyone.
I love that the minute you think you know what's going to happen in this book, Morrison changes it on you. Bones being in the bag instead of gold, makes you even more curious to know what happened to the gold and exactly what went on during Macon and Pilate's childhood.
I also found Lena's speech really interesting. We had yet to see her as a real person up until this point, and all of the sudden she just came alive. However, her attempt to put Milkman in his place seemed to be wasted because he just brushed it off as nothing. This shows how Milkman still needs to become more mature. I also like that we got to know Corinthians better in this chapter. I hadn't really liked her up until this point, but now I have sympathy for her. I love that she is with Porter, something you never saw coming. Porter is also a completely different person than at the beginning of the novel. I think he is the first positiv male figure in Corinthians life. I loved that he calls her "Cori".
This is the first school-assigned reading that I've enjoyed; Morrison has reason to be pompous after all. We discussed dialogue in class today, whether Morrison used dialogue effectively, or forcefully. In the last scene with Magdalene, the dialogue is horribly forced. She's a woman with little education--how can she speak so eloquently? He diatribe detracts from the credibility of the reading. Instead of seeing a middle aged Black woman speaking to her brother, I see, through the words, a woman who speaks as a professional speaker. I suppose this can be attributed to magical realism, but Morrison needs to realize that magic is not always the answer.
Has anyone noticed that the reader dislikes or has no respect for all the main male characters in this book (Macon Dead, Milkman, Guitar); however, the reader likes, respects, or sympathizes with all of the major female characters (Pilot, Lena, Corinthians, Ruth)? I could be wrong, but I doubt this is a coincidence. I am not sure whether Morrison is trying to make a point about males and females in black society or males and females in general. Feminism? Another question I had is why hadn’t Lena given that speech to Milkman much earlier in his life? (I know the reason why Lena confronted him was because Milkman told his father about Corinthians secret relationship with Porter, but I feel Lena should have done this much earlier. Why she didn’t is a mystery to me.)
Anyway, as this book develops, my dislike for both Milkman and Macon Dead grows. When Lena told the story about how Macon took his beautifully dressed daughters to a poor part of town just so that he could show off his daughters so that tenants could envy him really shows what pathetic, miserable, egotistical, selfish jerk he is. The comparison to Babylon I thought was extremely effective and appropriate. “All our lives were like that: he would parade us like virgins through Babylon, them humiliate us like whores in Babylon.” As for Milkman, what Lena said about him is absolutely true. He truly cares for no one. He only worries about the “hog’s gut that hangs down between [his] legs”. When he punched his father, he really did not care about his mother. He just wanted to become the new boss. He didn’t punch his father because of a genuine love for his mother or his family; he punched Macon because so that he can assert himself as more powerful than his father. Both of these men are really despicable creatures.
What is interesting and I think a bit unrealistic is that almost every relationship is failing. I was really rooting for First Corinthians when the narrator was telling about the romance between Porter and Corinthians. I was hoping that the romance would work out in the end. It really bothers me that nothing seems to be working out. Every relationship up to this point has gone from bad to worse. There is just too much gloom and doom in almost all the books we have read.
I loved chapter 9. I have been waiting to read more about Corinthians and Lena's character and Morrison did an excellent and intersting job in portraying their personalities. I found humor in the scene where Corinthians layed on Porter's car fender and hood and stretched across the car. I'm not sure as to whether I should have thought that was sad or funny, but I loved the description.
In terms of Lena, I agree with Parla in that I was pleased to see her stand up to her brother. Unfourtunately, he does not listen to her. It was intersting that Milkman taking her advice to get out of her room was the only advice that registered through his head. Him saying nothing to her entire speech shows his disconnection.
Lastly, Pilate is awesome. The bones are very creepy, but its okay because she's Pilate. What I thought was interesting was how Morrison incorporated magic realism once again with her body suddenly appearing shorter, and than taller, all in one scene, after the jail incident. Milkman's leg, one shorter than the other, and Pilate's odd height, and her body without a navel, makes me wonder if there is some kind of relation between the two and their body oddities.
By the way, as a response to Linda, I am really not set on the fact that the dialogue in is too forced. After all, Lena is of a high class and has some education. But the more importnat point is that the dialogue has to be effective. I don't think the dialogue would be nearly as effective if Lena spoke more slang or in a style more representative of the African-American community. The speech would lose its power and message. I think Morrison is more concerned with the effectiveness of her dialgoue. I think it was a good decision to sacrafice a little bit of the true style of dialogue.
There's always a lot to process after reading Song of Solomon. Morrison covers a lot of territory in forty pages. I thought of the peacock and a lot of what's already been mentioned, so I'll spare you.
Here's what I found interesting that hasn't been mentioned (or has been in at least slightly different form). While, throughout my reading of Song of Solomon (which feels like an eternity so far), Morrison has baffled and surprised me. However, before I had felt like I was in a confused daze. At the end of chapter 9, on the other hand, she outright smacked me in the face (although there was some advance warning). Lena and Corinthians were static characters, regulated almost entirely to the background. When I read about Corinthians' relationship and job, I thought, "Hey, here's some character development." (I really did think that.) Doing this set up the smack at the end of chapter 9. Before, the novel wasn't told entirely from Milkman's perspective, but it at least dealt with issues that ended up somehow involving him. So it seemed a little arbitrary (random, in some circles) to bring up Corinthians. Then, fast forward to the smacking, Lena chastises Milkman for his relationship with his sisters. She tells him all he knows is that they make artificial flowers, and really, that's about all the reader knows about them up until that chapter. And with that heavy dose of reality, ending in a suggestion that he leave, he does just that. I'm not exactly sure what I'm getting at, but that Morrison is one smart cookie. It seems she's trying to say something, that Milkman can be so out of touch with people yet have such a negative impact on them, and it's that kind of situation he has to leave.
I want to discuss the recurring blue in class tomorrow because it keeps on showing up, and then I'll ponder it but get fed up in the process of trying to find all the other mentions of it.
Also, am I the only one who finds Mary-Michael Graham hilarious? I now understand that poetry often depends on interior decoration, and sometimes, clearly one is just too much of a Poet to exercise sound judgment.
I find myself pausing in admiration of Toni Morrison's ability to craft a narrative so artfully. The story is so complex and multi-faceted, incorporating so many dynamic characters and disparate elements, and she somehow manages to structure it so that it all comes together gradually. My mind is overwhelmed just trying to imagine how she constructed it.
I was especially engaged in tonight's reading. Why? For me, atleast, I felt that I learned SOOO much more about the characters then I had before. And, as I've come to realize throughout the course, the books I feel strongest about are the books where I can connect with the characters. I was glad to see that we finally met First Corinthians and Lena outside of their normal setting in the Dead house. In the case of Lena, I guess I felt a "special" affinity towards her because she brought up the scene of Milkman having an accident on her from the beginning of the book--and that scene was one of the scenes that I remember most vividly and brought up to discuss in class. It may sound dumb, but I felt that I had somethign to "talk" about with Lena and I knew her because of that scene, and the fact that she brought it up again. I almost admire her for sticking up to Milkman, woohoo girl power! I want to see how their relationship develops further in the novel...if at all.
So far, I'm really enjoying are the conversations between Milkman and Guitar. While the subject matter isn't always moral or righteous, it's relaxing to read and hear dialogue that sounds like natural conversation only without the monotony. I do sometimes get mixed up in terms of who's saying what, though.
The symbolism also becomes rather blatant (but still interesting), especially with the peacock and its strut (Milkman, for now at least), white color (Milkman doesn't relate with blacks too well), and being weighed down resulting in the inability to fly (Milkman's life isn't really going anywhere either, and money isn't helping). Morrison then proceeds into the descriptions of what they want to do with the money, and one can clearly see the differences in personalities. Milkman only thinks about himself, while Guitar thinks of his family. At the same time, however, Guitar's bent on stealing from an innocent black person and killing innocent whites. The man's really mature.
The jail scene where Pilate has to lie to the police officers was also interesting because of her changes in height, which again is full of symbolism as others have stated. No matter how tall she is to Milkman, she's still shorter than the white cops. And Guitar is just a jerk. She just bailed you out and you look at her like that?
The story of Milkman's urinating on Lena and other assorted things is again some strong symbolism, and both Lena and Corrie get their chances to tell their very real stories.
Two comparatively short chapters, but with so much to them. To me, they're probably the most compelling ones yet. Morrison is ridiculously good.
And I loved the quote that Jasper brought up. Guitar definitely isn't role model material, but Milkman could really use that advice, as well as those of Corinthians and Lena.
What I appreciate most about chapter 9 (other than learning more about Lena and Corinthians) is how it brings Part 1 full circle. The book opens with the blue wings/rose petals scene, which is presented kind of mysteriously. It raises so many questions that I think Morrison then sets out to answer in the rest of the chapters. Chapter 9 gives us the final piece: an eyewitness account of the scene, and a follow-up on the only two characters involved who had yet to be fleshed out. So the opening scene is the basis from which the entire first part stems; it is closed cleanly (that's the only word I can think of for it) with Lena's ascendancy.
Funny line that caught my eye : "Uh...Lena, I have done some things in my life. Some things I don't feel too good about. But I swear to God I never peed on you." And now, to analyze it to death. The uncontrolled bladder moment at the beginning had very little significance to Milkman (possibly because he was so young?) and yet Lena has structured her entire life around it, around her resentment towards Milkman and her subjugation. I guess this goes along with what Ethan mentioned about Milkman's unwitting impact on those around him.
A quick note on the Biblical names: I'm (almost, sort of, kind of) fully convinced that the names are meant to be ironic. Pilate has turned out to be the forgiving character (and I am convinced that the whole "shorter in front of white people" thing was done on purpose - Pilate has been known to do ANYTHING to protect those she cares about); Lena, named for one of Jesus' biggest fans, harbors a burning resentment against him. And so on.
Lastly, what I love about Morrison's writing is how she never misses a detail. The novel is full of sensory images, rich with them, and yet she hasn't dropped one yet. Some images I've noticed are the blackberries (Pilate's lips, the wine), the ginger scent in the air which ties Ch. 8 to Ch. 9, the rose petals...Each image appears more than once; there are no loose ends.
I found the treatment of Milkman, Guitar, and Corinthians like they were kids, very interesting. Throughout most of chapter, I forgot that they were grown adults, and thought of them as teenagers being bailed out of jail and sneaking around with boys. It wasn't until the end of chapter nine, when Lena spoke to Milkman, that I remembered that he was an adult with responsibilities. I thought what she said was very interesting. I was sympathizing with Milkman because I felt that Lena was being way to harsh and demanding of her brother, but by the end of the speech, I (and Milkman, I think) realized that she was right. I also thought Morrison's decision to focus a lot on Corinthians and Lena during the last chapter before the close of part 1 was an interesting choice. I enjoyed it, because I love both of their characters! After last night's reading, because we get to know more characters and have spent more time with others, I am beginning to feel affection for the characters, not just Morrison's beautiful writing.
I found the peacock imagery very interesting. It was a piece of the novel that I found myself reading over. It is clear that the peacock is a symbol, but honestly I am not quite sure to what. I think it is important that the peacock appears just after Milkman says: "You're forgetting, Guitar, how Pilate got the gold in the first place. She waited in a cave with a dead man for three days to haul it out, and that was when she was twelve..." The story continues, and Guitar remains impatient, willing to do whatever at the current moment to get the gold. Perhaps the symbol connects to greed?
Chapter 9 made me see Corinthians in a completely different light. It was interesting to learn about her, as well as her relationship to Milkman. I love her character. While sometimes I feel she acts superior, it doesn't matter because she is that strong of a woman. It really bothered me though, that Milkman told Macon about Corinthian's relationship with Henry Porter and was "taking over, letting us know you had the right to tell her and all of us what to do..."(215). Lena's words concerning Milkman's motives and character really resonated me, and will stay with me probably until I finish the book.
for some reason i seem to have fallen behind on the blogs...as usual.
first of all, I love how Toni Morrison begins chapters. They are always unexpected, and it takes a little while for you to realize what she's talking about, and how it pertains to where you left off at the previous chapter. Look at chapter 10 even, I've only looked at the opening sentence, which begins, "When Hansel and Gretel stood in the forest and saw the house in the clearing before them, the little hairs at the nape of their necks must have shivered." ??? Her openings seem so divergent, yet they always seem to fall into place.
I also wondered a lot about the symbols used in the text, and I will not pretend to know what they mean...For instance, as some were saying before, the peacock? Also, the bush, the frigid temperature in Pilate's house, related to the ice imagery associated with Hagar, all these images add to the richness of the plot line.
The scene which was the most interesting for me was where Pilate and Macon get Milkman and Guitar out of jail. Pilate's stoop to deferential, submissive, old black woman and Macon's use of bribery reveal something about both their characters, and the social unrest of the time. Pilate plays the part that she is expected to play, for once, that of the stereotypical "yassuh boss" black woman, while Macon is the stereotypical rich white man, slipping people money in exchange for favors. Milkman is ashamed for both of them. But once the group gets into the car, Pilate regains her normal tall stature, and seems to tower over the men with her wisdom and morality. For what Macon saw as Pilate's flaw, the "snake" inside the woman, was really just a bag of bones, the acceptance of responsibility for an unfounded murder. Once again, Pilate's spirit triumphs over the male character's supposed righteousness.
First of all, I have to say I love Corintheans and Porter. They seem to be one of the most functional relationships in this text (well, after she hangs on to the hood of his car). Of course, since they do share such a passion, it has to be forbidden. I also found Porter's obsession with calenders appropriate since he is apart of the seven days. Morrison's transition from Corintheans' story to the conversation with Milkman and Macon was smooth. Milkman's change of perception regarding Pilate surprised me. Throughout the novel we've seen Pilate as a strong and independent woman, but once she has to talk to the cops, Pilate easily changes her character to "Aunt Jemima". I don't see this as a sign of weakness, but it showed me how easily she can manipulate. I was astonished that Lena showed some backbone against Milkman since she had been so passive in the novel thus far. But the speech was well written and I was happy that Milkman finally got a kick in the pants. Chapter Nine is my favorite chapter in the book so far.
I found so much interesting in these last two chapters that I don't even know where to start. First, I greatly appreciate how Lena and Corinthians were embellished as characters. It was the first time we were truly fully introduced to them--their inner thoughts and emotions. I had at first assumed Lena and Corinthians to be secondary characters, important just to establish the household dynamics. Now, we see Corinthians defy her father's expectations to find love in Porter, someone who seems to appreciate her for the first time. We see Lena criticize Milkman wholeheartedly, accusing him outright of his selfish indifference and the effect it has on the whole family. Such scenes demonstrate how the strange family dynamics have an enormous affect on everyone. I've come to realize how each and every character is unfulfilled in some way, always seeking something else, namely independence. That is all except for Pilate, who already exhibits this strong independence and pride.
I also find the magical realism in these sections of the novel very effective, contrasting slightly with the more obvious magical realism Morrison employs earlier on. I loved how Pilate suddenly transformed into a smaller person, so that Macon can see over the top of her head, and then magically tranforms back into her normal height. I'm not sure what sort of meaning this holds, but I know it is extremely symbolic and important. I am also surprised at Pilate's reaction. She appears so intimidating,whether it be holding knives up to threatening men or her enormous height. And yet, even when Milkman and Guitar deliberately tried to steal the "gold", willing to hurt whoever in the process, Pilate defends them. This shows the complexities of Pilate's character, and makes me admire her even more.
The concept of the seven days in another aspect of these chapters that affected me. The group is using logical means-"an eye for an eye"- to bring murder onto innocent white people. And yet, Guitar for the first time feels some sort of purpose in his life. It is a way for him and others to gain some sort of control over the racial injustices that pervade society.
What can't Pilate do? I thought Morrison's choice to actually "shrink" Pilate when she talks to the police was brilliant. To have such a strong, independent character not only manipulate her persona, but her physique in order to deprecate her into the "Aunt Jemima" role that the police would respond to. By having Pilate do this, I believe Morrison is showing that since Pilate can manipulate how she is perceived in order to achieve her goals, she is in fact superior to everyone else in society, despite their perceptions that they are better than her. Other black women in society hide their children from her, but I think Pilate prefers to be an "other" in society. As an “other”, she can do more for society than being a typical member. She is able to help everyone around her who has a problem and even helps those who whose actions will harm her (Ruth threatening Hagar and Guitar and Milkman stealing her skeleton from her).
Also, at long last Corinthians and Lena are characterized. Their characterizations are crucial to the understanding of the family dynamic and it was very interesting to learn their perceptions on other members of the family. Also, I agree with Jess in that Porter and Corinthians seem to have the healthiest relationship in the novel thus far in that they are passionate for each other and seem unable to function properly without the other.
Again, since I'm in love with this book, I found everything interesting. I loved the relationship between Porter and Corinthians, and how she straddled the car to make sure he didn't go away. I don't know if it was supposed to be romantic, but I found it incredibly romantic. I also liked the continued imagery of the rose petals, and how Lena loved them, but all Corinthians wanted was to be separated from them. We believed that they were both connected to the rose petals because, through Milkman's eyes, they were. But now we see a separation and a clear distinction between the two sisters.
I also found it interesting that Milkman wanted to desperately to move out of his parents' house and start his own life, and yet he needed his dad and his aunt to bail him out of jail. Obviously, he's not as mature as he thinks he is.
First off, I must voice my support the Corrie-Porter relationship…to respond to Ashish: okay, yes, maybe it’s pedophilia-ish, but they’re so cute together, aren’t they? And I wanted to punch Milkman when I found out he tattled on his sister and messed-up the relationship.
Anyway, before I sound like a seventeen magazine, I also noticed the symbolism and characterization in these chapters, but we’ve heard enough about that. There’s something that’s bothering me. I’m curious about the opening of chapter nine, when Guitar is thinking about blowing up a church with four white girls as revenge, and he suddenly shifts from the image of Magdalena called Lena and First Corinthian’s white, innocent Sunday dresses to the bombs he’s going to use to blow up the white girl’s dresses. Can this comparison be considered conceit? I never really understand the application of that literary device.
About the dialogue—I think Linda has a point when she noted that Lena’s speech was forced at times. At times the sentences flow too well and sound too pretty, almost as if it were narration. It has literary merit, but it’s just not realistic. However, I have to give Morrison some credit for adding the ellipses in Lena’s dialogue on the bottom of pg.213. The pauses make the passage more believable because people usually pause and break once in awhile to collect thoughts.
I liked how Morrison started to go deeper into Corinthians and Lena's characters in this reading. I found Corinthians really interesting- she carries a tremendous amount of pride but yet is finally able to let herself be with Porter. And I enjoyed the element of humor, too; Corinthians helpless search for a suitor, and when she flings herself on Porter's car. Milkman's interactions with his sisters really emphasizes why I dislike him. Not only does he destroy Corinthian's relationship, but as Lena finally said when she finally stood up to him, he disrespects their entire family.
I also found Milkman's and Guitar's feelings before the robbery interesting. The different values of these men became so clear when Guitar said he wanted to spend the gold on gifts for his family, while, all Milkman could think about was materialistic things for himself. Also, it clear that Milkman cares a lot about obtaining power; we see this when he hits his father, takes the upper hand in the relationship with Hagar, and now he felt that this robbery would give him a power that is his own. I'm interested to see what happens between Pilate and Macon, since he now realizes he hated his sister for no real reason. Was the woman looking through the window during the robbery, Pilate? Again, the magical realism really disrupted the flow of the book for me..I'm still trying to make sense of the whole height change.
The most recent thing in my mind is chapter 10, but i'll talk about whatever.
I really enjoy Macon Dead the original. His ghost just adds to the magical realism element of the novel. It gives Pilate advice and it just shows up. I think during the scene when Milkman and Guitar break into Pilate's house to steal the "inheritance" (disappointment), Milkman thinks he sees a third person in the dark room with them. I mean, it has to be Macon's ghost. I would be disappointed again if it wasn't. No one doubts Pilate when she says she spoke to her dead father, so it must be true. I really want to see where the ghost will play out in all of this. (If there is a ghost - don't let me down Toni!)
Okay I have been sick in bed with the stomach flu so i am doing some catching up on my blogging (the following is a combination blog for the last three blogs). I first of all absolutely love this book although once Hagar started on her murdering rampage I began to think it was getting a little bit strange. After I finish chapters * and 9 realized that this family is surprisingly and creepily chill. When Hagar is trying to murder Milkman Pilate and Ruth and Hagar sit down and have a polite conversation about how killing people is not good and she should try not to do it, when Hagar says she probably won't stop Pilate just accepts that theres nothing she can do about it and its not that big of a deal. A normal reaction to that situation would be to turn the girl into the fricking police!! I mean come on she is crazy! She keeps on repeatedly trying to kill Milkman, and i think, just as a personal opinion, that murderers should belong in prison, even if they are just "Captivated" by an extreme love for thier target. In this situation Hagar is like those wierd stalker people who develop crazy obsessions with celebrities, obsessions so crazy they decide they have to kill them. Anyway back to chapters 8 and 9, the Hagar situation only began to open my eye's to the crazy relaxed nature of this family. When Milkman and Guitar go to Pilate's house to steal the gold that is supposedly hidden in the green sack Macon Jr. Said Pilate took from the man in the cave. Although Milkman and Guitar end up sucessful in stealing the sack they get pulled over by the Police and arrested for their suspicious behavior. When Pilate and Macon Jr. come to the station to bail them out they do not get mad, they do not yell at them for stealing out of Pilate's house, they don't even hold any sort of a grudge against them. Instead they talk about why the bones of the old man were in the sack instead of the gold. To me this situation is so incredily strange. It seems extremely abnormal that Pilate wouldn't get mad that Milkman and Guitar broke into her house and stole something that could have been extremely valuable to her. Although I seriously love Pilate's character, I take big issue with the way she chooses to "parent," what good parent would accept the fact that her granddaughter is trying to kill someone and her nephew tried to steal from her. This is why i think the family dynamic is incredibly weird and creepy. Not only does the family, especially Pilate not care about serious crimes such as stealing and murder when it comes to her close family, but the family also has a problem with obsession. Ruth is obsessed with Milkman, Hagar is obsessed with Milkman, Guitar is obsessed with Revenge, Macon Jr. is obsessed with money, Ruth's father was obsessed with her. If you ask me it sounds like the Dead family dynamic is pretty screwed up.
SMD
Strange: as I described above the actions of all the characters in the novel are beginning to become very strange, from the “dream” sequence that Milkman had about Ruth and the roses ravaging her (say that 5 times fast), then the whole sequence with ruth on the bed when her father died with his fingers in his mouth (can you say strange), they the fact that no one gets mad at Hagar the many times she attempts to kill Milkman and even the fact that Ruth, who breast fed Milkman way past infancy, has such a serious obsession with her son that it rivals that of crazy Hagar
Mood: the mood throughout the entire novel so far is very eerie, the way the novel starts out kind of sets the mood for the whole book, this scene is beautifully written with the blue silk wings, the white snow, the red velvet rose petals and Pilate singing but while it seems like a beautiful scene, if you examine the situation, Morrison is really just describing a crowd gathering around watching a man commit suicide off a building, this is the way that the mood for the whole book is like, it kind of sneaks up on you, although situations Morrison writes about may seem less creepy and scary and harsh than they actually are because they are written so beautifully, once the reader stops and thinks about it, the novel has a morose aftertaste
Diction: I love Morrison’s use of Diction in this novel, Morrison writes with such beauty and eloquence that it makes the book so much more enjoyable. The words she uses are extremely potent in the situations she describes. For example when Morrison is writing the dream scene where Milkman sees the roses encircling his mother, the complex diction she chooses to use that is so carefully intertwined into the plot mimmicks the way the roses are winding around Ruth’s body
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