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91 pages 3 hours read

Song of Solomon

Fiction | Novel | Adult | Published in 1977

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Part 1, Chapters 1-3Chapter Summaries & Analyses

Part 1

Part 1, Chapter 1 Summary

Song of Solomon opens with a minor character, Robert Smith, a North Carolina Mutual Life Insurance agent, standing on top of Mercy Hospital wearing a pair of blue wings, ready to fly. As people gather to watch, Ruth Foster Dead suddenly goes into labor as the chaos surrounding Smith, who eventually jumps off the building, escalates. Ruth is brought in, “the first colored expectant mother […] to give birth inside its wards” (4-5). Macon Dead III, who in a few years will be given the nickname Milkman, is born.

As the novel jumps forward in time, Ruth lives a sad, unfulfilled life. Her father, who died a few years earlier, was a well-respected doctor able to afford an impressive house for his family. But Ruth feels trapped, both in that big house and in her oppressive marriage. Her husband Macon Dead Jr. is full of rage at Ruth and cuts her down with withering comments. Her only joy is a secretive one. Even though her son is already four years old, she still nurses him, needing the intimacy, until she is discovered by Freddie, a nosy tenant who laughs with surprise when he discovers her nursing Macon. He quickly calls Macon “Milkman” and, due to his gossip, the whole neighborhood soon calls Macon “Milkman,” which becomes his name for the rest of his life. Only Macon’s family refuses to use the nickname. His father has no idea how he got the name, but he assumes the name is an embarrassment and his wife is responsible.

Another source of embarrassment is Macon Jr.’s sister Pilate, who cares little for conventions and propriety, and has not returned to her brother’s house since they argued after Milkman’s birth.

Macon owns several apartments, and one of his tenants, Mrs. Bains, asks for rental help. She explains she is caring for two young grandchildren, and her relief check is not enough to cover their expenses let alone the rent she owes Macon. Macon refuses to help.

After Mrs. Bains leaves, Freddie tells Macon that another tenant, Porter, was drunk and waving a gun on top of his apartment roof, so Macon goes to Porter, who threatens to shoot him. Macon threatens him as well, saying he better not miss if he shoots. When Porter passes out, Macon gets his rent money.

On his way home, Macon walks by Pilate’s house. Pilate lives with her daughter Reba and Reba’s daughter Hagar. Macon hears them singing and grows nostalgic.

Part 1, Chapter 2 Summary

Chapter 2 begins with a flashback to Milkman’s childhood, when the whole family went on their regular Sunday afternoon drive in their luxury car, this time to Honoré, a beach community. The daughters, Lena and Corinthians, ask why they are going to Honoré because they think only White people own beach houses. Macon explains that he is interested in buying property because he predicts a beach community for Black people will soon develop and thrive there.

When Milkman is 12, he meets Guitar, who is a few years older and will become his closest friend. Guitar introduces Milkman to Pilate, Milkman’s aunt, even though Macon has forbidden Milkman from seeing her. Pilate tells Milkman about her childhood, remembering Milkman’s father as a loving boy who cared for her after she was born. Their mother died right before Pilate was born; their father was shot when Pilate was 12 and Milkman was 16.

Milkman also meets Pilate’s daughter Reba and granddaughter Hagar. The women show the boys how they make wine from berries. Milkman enjoys his time with the women, thinking that “it was the first time in his life that he remembered being completely happy” (47). He feels more at home with these three women than he does at home with his parents and two sisters.

Macon is outraged when Freddie tells him that Milkman has spent time at Pilate’s house. When Macon confronts Milkman for breaking his rules against going to her house, Milkman protests that he doesn’t understand why he can’t visit his aunt’s house. Macon then reminisces about his childhood, telling Milkman about where he grew up. His father owned 150 acres of land, a farm he called Lincoln’s Heaven, and Macon grew up working the land alongside his father, which Macon remembers with fondness.

Macon explains that his father’s name, also Macon Dead, was a result of miscommunication. In 1869 Macon’s father, a former slave, had to register with the Freedmen’s Bureau, and when a drunk man recorded his name, he confused the father’s answers about his birthplace (Macon) and the fact that his father was dead, recording those two answers as the father’s name.

Macon then warns his son about Pilate, saying she is “a snake, and can charm you like a snake, but still a snake” (54). Macon then tells Milkman that it’s time Milkman starts working at his real estate office.

Part 1, Chapter 3 Summary

Macon begins working for his father, collecting rent from his father’s tenants. Macon is happy to have a stronger influence over his son and delighted that his wife no longer has as much influence over Milkman. By the end of World War II, Macon’s real estate business is doing well.

When Milkman is 22, he fights his father when Macon threatens his mother over a seemingly trivial incident. Although Macon has verbally and physically abused Ruth all Milkman’s life, Milkman is now old and big enough to challenge his father. Milkman threatens, “You touch her again, one more time, and I’ll kill you” (67). Macon is shocked by this role reversal but takes pride in how his son asserts himself.

Later that night, Macon confronts Milkman. He explains why he treats Ruth the way he does despite Milkman protesting that he doesn’t need to hear any of it. Macon explains that Ruth’s father always looked down on Macon, who disapproved of how Ruth’s father delivered all of their children. He recalls, “I ended up telling him that nothing could be nastier than a father delivering his own daughter’s baby” (71). Macon’s feelings of anger and jealousy rose when Dr. Foster refused to loan him money to develop land that was about to increase in value substantially.

Later, on Dr. Foster’s deathbed, Macon discovered Ruth lying naked on the bed, kissing her dead father’s fingers. Macon was ready to kill her, but “she talked [him] out of killing her” (74). Macon tells Milkman all this so he can understand some of the context for Macon’s feelings and behavior toward Ruth.

Shocked, Milkman leaves the house, thinking about everything his father said. He suddenly has a memory that he believes confirms his mother’s inappropriate behavior; he remembers her nursing him when he was way past the age to be nursing. This memory disorients him, and he seeks his friend Guitar for help. He finds Guitar at the barbershop with several others as they listen to the news that a 14-year-old Black boy from Chicago, Emmett Till, was murdered in Mississippi for supposedly whistling at a White woman. The men discuss the killing, wondering if the newspapers will even pay attention to the boy’s murder and wondering if there will be any justice for the boy’s death.

Guitar eventually leaves with Milkman to get a drink, and Milkman tells Guitar that he fought with his father. He doesn’t tell Guitar the details of his father’s story, but Guitar understands that Macon’s revelations have greatly upset Milkman. Guitar tries to empathize with Milkman, eventually urging him to forget about whatever Macon said.

Part 1, Chapters 1-3 Analysis

In the foreword to the book, Morrison writes about how the death of her beloved father helped shape the narrative of Song of Solomon. Her previous books centered around female protagonists, but with Song of Solomon, she focuses on the male point of view. She uses the metaphor of flight to explore the masculine desire to fly, both “as escape or confrontation” (xiii). In these early chapters describing Milkman’s formative years, the reader sees how Milkman has been denied the chance to fly. He feels trapped by wealth and his family. His father in particular contributes to his alienation. Macon Jr. is a landlord wielding great power in the community, but because of his lack of empathy, he is strongly disliked by many. Macon’s alienation from the community adds to Milkman’s alienation. Milkman tries to distract himself from his lack of connection with frivolous parties and beach trips fueled by his father’s money.

It is only after Milkman’s fight with his father and their subsequent talk, in which Milkman learns disturbing things about his mother, that Milkman finally feels the weight of his isolation. As he walks the street after the fight, absorbed in his thoughts, he feels as if everyone is crowded on his sidewalk but walking the opposite direction: “The street was even more crowded with people, all going in the direction he was coming from. All walking hurriedly and bumping against him” (78). This sensation of himself against everyone else symbolizes his isolation from his community and family. Milkman was never close with his family, but the fight with the father, and the revelations about the mother, sever his connections with them, leaving him untethered.

The only place where he has a sense of connection and happiness is in Pilate’s home. Ironically, Pilate is ostracized from society partly due to her lack of a navel. She has no scar of an umbilical cord, no sign of a tether to another human being. Pilate, whose name also separates her from the world because of its association with the biblical “Christ-killing Pilate” (19), has been cut off from people ever since her father was killed and she was rejected by her brother. Later, community after community denied her because they were afraid of her difference, her lack of a navel. But it is this impoverished, unconventional woman who has greater advantage and strength than anyone else in the book. She serves as a type of “pilot” to Milkman, who is strongly drawn to his aunt and wants to spend most of his time in her house, away from his own home.

The murder of Emmett Till, which is discussed heavily by the men at the barbershop, is not of much concern to Milkman, who says, “Yeah, well, fuck Till. I’m the one in trouble” (88). Guitar’s concerns for racial justice mean very little to Milkman, who can only focus on his loneliness and his feelings that everyone except for Pilate and Guitar is against him.

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