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Descriptions du produit


Chapter 1

The North Carolina Mutual Life Insurance agent promised to fly from Mercy to the other side of Lake Superior at three o'clock. Two days before the event was to take place he tacked a note on the door of his little yellow house:

At 3:00 p.m. on Wednesday the 18th of February, 1931, I will take off from Mercy and fly away on my own wings. Please forgive me. I loved you all.
(signed) Robert Smith,
Ins. agent

Mr. Smith didn't draw as big a crowd as Lindbergh had four years earlier--not more than forty or fifty people showed up--because it was already eleven o'clock in the morning, on the very Wednesday he had chosen for his flight, before anybody read the note. At that time of day, during the middle of the week, word-of-mouth news just lumbered along. Children were in school; men were at work; and most of the women were fastening their corsets and getting ready to go see what tails or entrails the butcher might be giving away. Only the unemployed, the self-employed, and the very young were available--deliberately available because they'd heard about it, or accidentally available because they happened to be walking at that exact moment in the shore end of Not Doctor Street, a name the post office did not recognize. Town maps registered the street as Mains Avenue, but the only colored doctor in the city had lived and died on that street, and when he moved there in 1896 his patients took to calling the street, which none of them lived in or near, Doctor Street. Later, when other Negroes moved there, and when the postal service became a popular means of transferring messages among them, envelopes from Louisiana, Virginia, Alabama, and Georgia began to arrive addressed to people at house numbers on Doctor Street. The post office workers returned these envelopes or passed them on to the Dead Letter Office. Then in 1918, when colored men were being drafted, a few gave their address at the recruitment office as Doctor Street. In that way, the name acquired a quasi-official status. But not for long. Some of the city legislators, whose concern for appropriate names and the maintenance of the city's landmarks was the principal part of their political life, saw to it that "Doctor Street" was never used in any official capacity. And since they knew that only Southside residents kept it up, they had notices posted in the stores, barbershops, and restaurants in that part of the city saying that the avenue running northerly and southerly from Shore Road fronting the lake to the junction of routes 6 and 2 leading to Pennsylvania, and also running parallel to and between Rutherford Avenue and Broadway, had always been and would always be known as Mains Avenue and not Doctor Street.

It was a genuinely clarifying public notice because it gave Southside residents a way to keep their memories alive and please the city legislators as well. They called it Not Doctor Street, and were inclined to call the charity hospital at its northern end No Mercy Hospital since it was 1931, on the day following Mr. Smith's leap from its cupola, before the first colored expectant mother was allowed to give birth inside its wards and not on its steps. The reason for the hospital's generosity to that particular woman was not the fact that she was the only child of this Negro doctor, for during his entire professional life he had never been granted hospital privileges and only two of his patients were ever admitted to Mercy, both white. Besides, the doctor had been dead a long time by 1931. It must have been Mr. Smith's leap from the roof over their heads that made them admit her. In any case, whether or not the little insurance agent's conviction that he could fly contributed to the place of her delivery, it certainly contributed to its time.

When the dead doctor's daughter saw Mr. Smith emerge as promptly as he had promised from behind the cupola, his wide blue silk wings curved forward around his chest, she dropped her covered peck basket, spilling red velvet rose petals. The wind blew them about, up, down, and into small mounds of snow. Her half-grown daughters scrambled about trying to catch them, while their mother moaned and held the underside of her stomach. The rose-petal scramble got a lot of attention, but the pregnant lady's moans did not. Everyone knew the girls had spent hour after hour tracing, cutting, and stitching the costly velvet, and that Gerhardt's Department Store would be quick to reject any that were soiled.

It was nice and gay there for a while. The men joined in trying to collect the scraps before the snow soaked through them--snatching them from a gust of wind or plucking them delicately from the snow. And the very young children couldn't make up their minds whether to watch the man circled in blue on the roof or the bits of red flashing around on the ground. Their dilemma was solved when a woman suddenly burst into song. The singer, standing at the back of the crowd, was as poorly dressed as the doctor's daughter was well dressed. The latter had on a neat gray coat with the traditional pregnant-woman bow at her navel, a black cloche, and a pair of four-button ladies' galoshes. The singing woman wore a knitted navy cap pulled far down over her forehead. She had wrapped herself up in an old quilt instead of a winter coat. Her head cocked to one side, her eyes fixed on Mr. Robert Smith, she sang in a powerful contralto:

O Sugarman done fly away
Sugarman done gone
Sugarman cut across the sky
Sugarman gone home....

A few of the half a hundred or so people gathered there nudged each other and sniggered. Others listened as though it were the helpful and defining piano music in a silent movie. They stood this way for some time, none of them crying out to Mr. Smith, all of them preoccupied with one or the other of the minor events about them, until the hospital people came.

They had been watching from the windows--at first with mild curiosity, then, as the crowd seemed to swell to the very walls of the hospital, they watched with apprehension. They wondered if one of those things that racial-uplift groups were always organizing was taking place. But when they saw neither placards nor speakers, they ventured outside into the cold: white-coated surgeons, dark-jacketed business and personnel clerks, and three nurses in starched jumpers.

The sight of Mr. Smith and his wide blue wings transfixed them for a few seconds, as did the woman's singing and the roses strewn about. Some of them thought briefly that this was probably some form of worship. Philadelphia, where Father Divine reigned, wasn't all that far away. Perhaps the young girls holding baskets of flowers were two of his virgins. But the laughter of a gold-toothed man brought them back to their senses. They stopped daydreaming and swiftly got down to business, giving orders. Their shouts and bustling caused great confusion where before there had been only a few men and some girls playing with pieces of velvet and a woman singing.

One of the nurses, hoping to bring some efficiency into the disorder, searched the faces around her until she saw a stout woman who looked as though she might move the earth if she wanted to.

"You," she said, moving toward the stout woman. "Are these your children?"

The stout woman turned her head slowly, her eyebrows lifted at the carelessness of the address. Then, seeing where the voice came from, she lowered her brows and veiled her eyes.


"Send one around back to the emergency office. Tell him to tell the guard to get over here quick. That boy there can go. That one." She pointed to a cat-eyed boy about five or six years old.

The stout woman slid her eyes down the nurse's finger and looked at the child she was pointing to.

"Guitar, ma'am."



The nurse gazed at the stout woman as though she had spoken Welsh. Then she closed her mouth, looked again at the cat-eyed boy, and lacing her fingers, spoke her next words very slowly to him.

"Listen. Go around to the back of the hospital to the guard's office. It will say 'Emergency Admissions' on the door. A-D-M-I-S-I-O-N-S. But the guard will be there. Tell him to get over here-- on the double. Move now. Move!" She unlaced her fingers and made scooping motions with her hands, the palms pushing against the wintry air.

A man in a brown suit came toward her, puffing little white clouds of breath. "Fire truck's on its way. Get back inside. You'll freeze to death."

The nurse nodded.

"You left out a s, ma'am," the boy said. The North was new to him and he had just begun to learn he could speak up to white people. But she'd already gone, rubbing her arms against the cold.

"Granny, she left out a s."

"And a 'please.' "

"You reckon he'll jump?"

"A nutwagon do anything."

"Who is he?"

"Collects insurance. A nutwagon."

"Who is that lady singing?"

"That, baby, is the very last thing in pea-time." But she smiled when she looked at the singing woman, so the cat-eyed boy listened to the musical performance with at least as much interest as he devoted to the man flapping his wings on top of the hospital.

The crowd was beginning to be a little nervous now that the law was being called in. They each knew Mr. Smith. He came to their houses twice a month to collect one dollar and sixty-eight cents and write down on a little yellow card both the date and their eighty-four cents a week payment. They were always half a month or so behind, and talked endlessly to him about paying ahead--after they had a preliminary discussion about what he was doing back so soon anyway.

"You back in here already? Look like I just got rid of you."

"I'm tired of seeing your face. Really tired."

"I knew it. Soon's I get two dimes back to back, here you come. More regular than the reaper. Do Hoover know about you?"

They kidded him, abused him, told their children to tell him they were out or sick or gone to Pittsburgh. But they held on to those little yellow cards as though they meant something--laid them gently in the shoe box along with the rent receipts, marriage licenses, and expired factory identification badges. Mr. Smith smiled through it all, managing to keep his eyes focused almost the whole time on his customers' feet. He wore a business suit for his work, but his house was no better than theirs. He never had a woman that any of them knew about and said nothing in church but an occasional "Amen." He never beat anybody up and he wasn't seen after dark, so they thought he was probably a nice man. But he was heavily associated with illness and death, neither of which was distinguishable from the brown picture of the North Carolina Mutual Life Building on the back of their yellow cards. Jumping from the roof of Mercy was the most interesting thing he had done. None of them had suspected he had it in him. Just goes to show, they murmured to each other, you never really do know about people.

The singing woman quieted down and, humming the tune, walked through the crowd toward the rose-petal lady, who was still cradling her stomach.

"You should make yourself warm," she whispered to her, touching her lightly on the elbow. "A little bird'll be here with the morning."

"Oh?" said the rose-petal lady. "Tomorrow morning?"

"That's the only morning coming."

"It can't be," the rose-petal lady said. "It's too soon."

"No it ain't. Right on time."

The women were looking deep into each other's eyes when a loud roar went up from the crowd--a kind of wavy oo sound. Mr. Smith had lost his balance for a second, and was trying gallantly to hold on to a triangle of wood that jutted from the cupola. Immediately the singing woman began again:

O Sugarman done fly
O Sugarman done gone . . .

Downtown the firemen pulled on their greatcoats, but when they arrived at Mercy, Mr. Smith had seen the rose petals, heard the music, and leaped on into the air.

The next day a colored baby was born inside Mercy for the first time. Mr. Smith's blue silk wings must have left their mark, because when the little boy discovered, at four, the same thing Mr. Smith had learned earlier--that only birds and airplanes could fly--he lost all interest in himself. To have to live without that single gift saddened him and left his imagination so bereft that he appeared dull even to the women who did not hate his mother. The ones who did, who accepted her invitations to tea and envied the doctor's big dark house of twelve rooms and the green sedan, called him "peculiar." The others, who knew that the house was more prison than palace, and that the Dodge sedan was for Sunday drives only, felt sorry for Ruth Foster and her dry daughters, and called her son "deep." Even mysterious.

"Did he come with a caul?"

"You should have dried it and made him some tea from it to drink. If you don't he'll see ghosts."

"You believe that?"

"I don't, but that's what the old people say."

"Well, he's a deep one anyway. Look at his eyes."

And they pried pieces of baked-too-fast sunshine cake from the roofs of their mouths and looked once more into the boy's eyes. He met their gaze as best he could until, after a pleading glance toward his mother, he was allowed to leave the room.

It took some planning to walk out of the parlor, his back washed with the hum of their voices, open the heavy double doors leading to the dining room, slip up the stairs past all those bedrooms, and not arouse the attention of Lena and Corinthians sitting like big baby dolls before a table heaped with scraps of red velvet. His sisters made roses in the afternoon. Bright, lifeless roses that lay in peck baskets for months until the specialty buyer at Gerhardt's sent Freddie the janitor over to tell the girls that they could use another gross. If he did manage to slip by his sisters and avoid their casual malice, he knelt in his room at the window sill and wondered again and again why he had to stay level on the ground. The quiet that suffused the doctor's house then, broken only by the murmur of the women eating sunshine cake, was only that: quiet. It was not peaceful, for it was preceded by and would soon be terminated by the presence of Macon Dead. --Ce texte fait référence à l'édition Broché .

Revue de presse

"Toni Morrison makes me believe in God. She makes me believe in a divine being, because luck and genetics don’t seem to come close to explaining her" (Guardian)

"A complex, wonderfully alive and imaginative story...glittering" (Daily Telegraph)

"Toni Morrison has written a brilliant prose tale that surveys nearly a century of American history as it impinges on a single family" (New York Times Book Review)

"Toni Morrison's Song of Solomon grips as a novel of extraordinary truth, wisdom and humour" (Sunday Telegraph)

"Song of Solomon…profoundly changed my life" (Marlon James Guardian)

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Détails sur le produit

  • Broché: 352 pages
  • Editeur : Vintage; Édition : New Ed (14 mai 1998)
  • Collection : Roman
  • Langue : Anglais
  • ISBN-10: 0099768410
  • ISBN-13: 978-0099768418
  • Dimensions du produit: 12,9 x 2,2 x 19,8 cm
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 60.066 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)

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Commentaires client les plus utiles

4 internautes sur 4 ont trouvé ce commentaire utile  Par HORAK le 23 novembre 2004
Format: Broché
Mrs Morrison has produced a complex, wonderful and imaginative story of epic dimension about the Dead family and thus more generally about the African American experience in the USA. On the one hand, the reader follows the story of Macon Dead and his son who has the same name and who marries Ruth Foster, daughter of Dr Foster, and their children Lena, First Corinthians and Macon "Milkman" and on the other hand the story of Macon Dead's sister Pilate Dead, her daughter Reba and her grand-daughter Hagar.
Thus the plot spans over nearly a century and one is dazzled by the family's spellbinding search for their past and their roots which ends dramatically on the top of Solomon's Leap.
Mrs Morrison put a lot of truth, wisdom and humour in her narrative and "Song of Solomon" is bound to become a classic American tale of the 20th century.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 390 commentaires
131 internautes sur 141 ont trouvé ce commentaire utile 
One of Toni Morrison's best novels 27 février 2004
Par Debbie Lee Wesselmann - Publié sur Amazon.com
Format: Broché Achat vérifié
With passion and a voice that sings with beautiful detail and magic, Toni Morrison's third novel, published in 1977, is a powerful tale that follows the lives of a black family and their friends living in a Michigan city. In 1931, Macon Dead III, later nicknamed Milkman, is prematurely brought into the world, the first black child born in Mercy Hospital, just after his mother witnesses the brief flight of a man determined to fly from the cupola of the hospital. Although the novel revolves around Milkman, the stories spun out from him embrace a wide variety of characters and experiences. Morrison explores the lasting stamp of slavery through the name of Macon Dead; the intimate culture of women through Pilate, Reba, and Hagar; the hunger for property and respectability through Milkman's father; the idea of one's "people" through those in the South who have not forgotten connections; the violence of civil rights through Guitar; and many more issues facing blacks of the times and today. Despite the resonance of history, this novel is ultimately about its people and their eagerly lived lives. Morrison plunges her readers into their hearts with a humanity and skill too few novelists possess. The result is a remarkably emotional and intelligent story that will stay with you for a long time.
Readers should not be intimidated by Morrison's Nobel Prize Winner status, as this novel, like most of her others, is written in startling but accessible language. You don't need an advanced degree (or even a specific race or gender) to slip into her magical prose. Her characters are real and fully realized, and feel like friends, even when you might want to shake them to their senses. Although some readers will be puzzled by the end, wanting perhaps the next sentence that explains it all, Morrison has included by her omission the real meaning of her book. Visit with it for a few moments before closing the cover.
I highly recommend this book for a wide range of readers, from high school students to adults. Even though it was written in the 1970's, its themes and characters still have relevance today. Morrison is one of the world's literary gifts, and should not be missed. THE SONG OF SOLOMON is one of her best novels.
81 internautes sur 88 ont trouvé ce commentaire utile 
Tears, ebony tears, that turn to type and illuminate.... 15 septembre 1999
Par Un client - Publié sur Amazon.com
Format: Broché
I've read SOS going on four or five times now, floored, awestruck, enraptured each time, every twist and turn a new surprise arrives. Milkman is a wonderful archetype for a Black man searching for what he can claim as his own. His mind, his body, his sex, money? What is his and not tainted by the past, by racism, by internal family feuding? This is what I call a "Patience Book", you have to sit with it the way you would sit with a child on a Sunday afternoon. Patience. You have to breathe in rhythm with this book. Morrison is one of those few writers that it's silly to ask all of your questions of even after you finish the book. Pick it right back up and breathe, savor each page, have patience. It is not an easy read for it is literature and you are reading, truly reading. Not surfing through pulp fiction knwoing that the hero lives, the heroine is saved and everybody sleeps well on the last page. Uh uh. Patience. What else but patience could you use to understand Magdalene, Pilate, Corinthians? My all time, all time, all time favorite literary scene that chills me, tears me up, knocks me around hard and then uplifts me: Pilate at the funeral. "That was my baby, That's my baby, AND SHE WAS LOVED!"
Honey, welcome to real African American literature, impossible to translate to film for this is patience reading. Patience, free at last, free at last!
37 internautes sur 38 ont trouvé ce commentaire utile 
not for book clubs, but a masterpiece 21 février 2000
Par Un client - Publié sur Amazon.com
Format: Broché
this book is not for a reader who wants a simple plot or who is not willing to concentrate on the text and think about it on numerous levels. in fact, it may even be a dangerous book for people like that. i have heard morrison called a racist, and i have heard her called a degrader of her own race, and unfortunately this is because her work lacks the inane quality of so many other works today that fit so easily into simple categories. so many readers today want works that reinforce their own sense of themselves, that make broad statements that have already been made, such as 'racism is bad,' and that consequently make them feel good by presenting plots that include them on the side of right. this author's work is hardly aimed at such generic ideals. instead, morrison weaves tales that destroy the very notion of racial superiority, setting up oppositions that not only show in detail the horrors of white discimination, but also the devestating effects of internal attempts by black groups or individuals at creating a heirarchy of their own where they might be superior to other blacks. this novel is about the lunacy of existing through stereotypical perceptions, and more importantly the horrific consequences of hate from all sides and the redeeming qualities of love from all sides. it is about so much more, but at its simplest level, it is about being american. this book is not for everyone, but if you're willing to think extremely hard about each page, and not afraid to accept that something of yourself, no matter what your race or gender may be, is almost certainly going to be indicted within it, by all means devour this incredibly beautiful and powerful story with no self-illusions, because it will make you a better person to have done it. this is toni morrison's masterpiece, and quite simply one of the greatest american novels of the 20th century.
60 internautes sur 65 ont trouvé ce commentaire utile 
Classic! A masterpiece! 12 août 2001
Par Hilde Bygdevoll - Publié sur Amazon.com
Format: Broché
"Song of Solomon" is the third book I've read of Toni Morrison. The prose is beautiful, subtle and unique. She is the winner of both the Pulitzer and the Nobel Prize. Read this novel, and you will understand why!
From the fantastic opening scene - when Robert Smith, the insurance collector, is about to "fly" from the top of a building, some forty, fifty people gathered on the ground to watch. One of them, a woman is standing there, singing, and another woman entering labor - to the ending, this book held my full attention. I just could not put this book down!
In telling this beautiful story, Morrison cleverly mix together elements of magic, myth, and folklore. The style of the book reminds me of the book "One hundred years of Solitude" by Gabriel García Márquez. Both novels share many similarities, and they are books which you have to "think" while reading them.
The characters in "Song of Solomon" are each very well developed. It is almost as if you know them all personally and one cannot help but to care deeply for them all. This is the only book I have read by Toni Morrison that features a male lead. I wouldn't know, but based on the opinion of other reviewers on Amazon.com Morrison masters the task of "being male" perfectly well.
"Song of Solomon" is considered to be Toni Morrison's masterpiece, and the novel is one of my all-time favorites. If you read only one novel by Toni Morrison, it should be this one!
20 internautes sur 21 ont trouvé ce commentaire utile 
A Powerful and Intricate Novel 17 mars 2005
Par Kiss-me-I'm-Irish - Publié sur Amazon.com
Format: Broché
Toni Morrison's Song of Solomon captures the reader with its first sentence. While a beautifully written story, it is one with which the reader must be prepared to invest some time. Morrison makes her reader dig past the literal meaning to find the figurative because the novel is about much more than what the surface shows. Her prose contains layered meanings that at times can be difficult to grasp due to Morrison's intricate phrasing. Song of Solomon, written in 1977, depicts a divided African American family living in northern Michigan during the 1930's. As with many of her novels, Song of Solomon hits at heavy themes. Within the novel Morrison touches on issues including race, gender, geography, age, the importance of family origins, and the value of human life. With this novel Morrison's aim was to make the reader think about the value and worth of another person's life.

The novel begins outside of a residential hospital, with a man preparing to jump off the building, and women struggling to give birth on the steps below. "The next day a colored baby was born inside Mercy for the first time" (9), this colored child is the main character Macon Dead, nicknamed Milkman. Next, the reader meets the other characters in the novel, including Milkman's mother, father, sisters, aunt, and his close friend Guitar. Milkman's relationship with each of this character is essential to shaping the novel's themes. Although the novel is centered on Milkman, his story is created by the lives of those around him. Through out the novel Milkman struggles to find meaning in his life. He says, "Everybody wants something from me, you know what I mean?...Something they think I got. I don't know what it is-I mean what it is they really want" (222). Milkman's effort to find that `something' takes him in many directions, the most important of these being a journey, in an effort to prove himself in the eyes of his friend and father, in search of stolen gold. What began as lust for money and power turns into something much more for Milkman. On this particular journey he is forced to re-evaluate his life, "They were troublesome thoughts, but they wouldn't go away...his self--the cocoon that was "personality"-gave way...so the thoughts came, unobstructed" (277). The end of this journey brings understanding, and change not only to Milkman, but to all those connected to him. The story is a skillful blend of characters and plot developments that form a complex tale of human discovery which takes the reader from birth to death, from north to south, and from emptiness to fulfillment.

The beauty and power of Morrison's writing is what makes this novel so effective. Morrison's descriptive words create vivid imagery and strong themes; the most prevalent of these is the importance of family, and the value of life. Morrison presents these themes amidst a setting displayed in colorful and descriptive language. Scenes such as the first, impact the reader because of the intensity of the words. Instead of using simple sentences such as "the women dropped her basket and spilled the contents," Morrison uses phrases such as "she dropped her covered peck basket, spilling red velvet rose petals. The wind blew them about, up down and into small mounds of snow." The wording is so detailed that the reader can picture vibrant red roses swirling in the air, drifting on to the pristine snow. The difference is the effect of the language; Morrison's vivid prose makes the story come alive inside the reader's mind.

The themes of this novel are brought out before the story even begins. On the two pages prior to Part One of the novel, Morrison has her dedication. On one page, it simply reads "Daddy," on the other it reads, "The fathers may soar/ And the children may know their names." These two pages show the set up for the importance of kin and connections. Milkman's search for meaning in his life leads him to his family roots, to "his people." His ability to find worth in himself comes from this comprehension that his father, and his father's father, all that came before him had worth, had importance in their lives. This knowledge helps him understand and respect not only those around him, but ultimately himself. The characters that Morrison created affect the reader because they are realistic. They love, they hate, they hurt, and most importantly, they have flaws. The humanity of the characters is shown in characters such as Pilate, when she lies dying and says, "I wish I'd a knowed more people. I would have loved all. If I'd a knowed more, I would a loved more" (336). Morrison's characters force a reader to look at the strength and fragilities of human nature that is inherent in everyone, regardless of race, gender, or age.

Although a challenging read Song of Solomon is a novel that I would recommend to anyone willing to invest the time. A surface read will not suffice for the complexity of Morrison's prose. The thematic goal of this novel is achieved because of Morrison's intricate style. Her language throughout the novel forces a reader to take an active role in fully understanding the significance of her words. However, because of this the novel is more rewarding for the reader. Toni Morrison's writing is layered with meaning, and exceptional in its ability to cause emotions in the reader. The truthfulness of the characters, and the beauty and depth of the story, makes it one well worth the read.
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