Toni Morrison - Song of Solomon

Milkman stopped dead in his tracks. Cold sweat broke out on his neck. People jostled him trying to get past the solitary man standing in their way. He had remembered something. Or believed he remembered something. Maybe he’d dreamed it and it was the dream he remembered. The picture was developing, of the two men in the bed with his mother, each nibbling on a breast, but the picture cracked and in the crack another picture emerged. There was this green room, a very small green room, and his mother was sitting in the green room and her breasts were uncovered and somebody was sucking them and the somebody was himself. So? So what? My mother nursed me. Mothers nurse babies. Why the sweat? He walked on, hardly noticing the people pushing past him, their annoyed, tight faces. He tried to see more of the picture, but couldn’t. Then he heard something that he knew was related to the picture. Laughter. Somebody he couldn’t see, in the room laughing…at him and at his mother is ashamed. She lowers her eyes and won’t look at him. “Look at me, Mama. Look at me.” But she doesn’t and the laughter is loud now. Everybody is laughing. Did he wet his pants? Is his mother ashamed because while he was nursing he wet his pants? What pants? He didn’t wear pants then. He wore diapers. Babies always wet their diapers. does he think he has pants on? Blue pants with elastic around the calf. Little blue corduroy knickers. Why is he dressed that way? Is that what the man is laughing at? Because he is a tiny baby dressed in blue knickers? He sees himself standing there. “Look at me, Mama,” is all he can think of to say. “Please look at me.” Standing? He is a tiny baby. Nursing in his mother’s arms. He can’t stand up.

“I couldn’t stand up,” he said aloud, and turned toward a shop window. There was his face leaning out of the upturned collar of his jacket, and he knew. “My mother nursed me when I was old enough to talk, stand up, and wear knickers, and somebody saw it and laughed and—and that is why they call me Milkman and that is why my father never does and that is why my mother never does, but everybody else does. And how did I forget that? And why? And if she did that to me when there was no reason for it, when I also drank milk and Ovaltine and everything else from a glass, then maybe she did other things with her father?”

Milkman closed his eyes and then opened them. The street was even more crowded with people, all going in the direction he was coming from. All walking hurriedly and bumping against him. After a while he realized that nobody was walking on the other side of the street. There were no cars and the street lights were on, now that darkness had come, but the sidewalk on the other side of the street was completely empty. He turned around to see where everybody was going, but there was nothing to see except their backs and hats pressing forward into the night. He looked again at the other side of Not Doctor Street. Not a soul.

He touched the arm of a man in a cap who was trying to get past him. “Why is everybody on this side of the street?” he asked him.

“Watch it, buddy,” the man snapped, and moved on with the crowd.

Milkman walked on, still headed toward Southside, never once wondering why he himself did not cross over to the other side of the street, where no one was walking at all.

He believed he was thinking coldly, clearly. He had never loved his mother, but had always known that she had loved him. And that had always seemed right to him, the way it should be. Her confirmed, eternal love of him, love that he didn’t even have to earn or deserve, seemed to him natural. And now it was decomposing. He wondered if there was anyone in the world who liked him. Liked him for himself alone. His visits to the wine house seemed (before his talk with his father) an extension of the love he had come to expect from his mother. Not that Pilate or Reba felt the possessive love for him that his mother did, but they had accepted him without question and with all the ease in the world. They took him seriously too. Asked him questions and thought all his responses to things were important enough to laugh at or quarrel with him about. Everything he did at home was met with quiet understanding from his mother and his sisters (or indifference and criticism from his father). The women in the wine house were indifferent to nothing and understood nothing. Every sentence, every word, was new to them and they listened to what he said like bright-eyed ravens, trembling in their eagerness to catch and interpret every sound in the universe. Now he questioned them. Questioned everybody. His father had crept along the wall and then come upstairs with a terrible piece of news. His mother had been portrayed not as a mother who simply adored her only son, but as an obscene child playing dirty games with whatever male was near—be it her father or her son. Even his sisters, the most tolerant and accommodating of all the women he knew, had changed their faces and rimmed their eyes with red and charcoal dust.

Where was Guitar? He needed to find the one person left whose clarity never failed him, and unless he was out of the state, Milkman was determined to find him.

His first stop, Tommy’s Barbershop, was fruitful. Guitar was there with several other men, leaning in various attitudes, but all listening to something.

As Milkman entered and spotted Guitar’s back, he was so relieved he shouted, “Hey, Guitar!”

“Sh!” said Railroad Tommy. Guitar turned around and motioned him to come in but to be quiet. They were listening to the radio and muttering and shaking their heads. It was some time before Milkman discovered what they were so tense about. A young Negro boy had been found stomped to death in Sunflower County, Mississippi. There were no questions about who stomped him—his murderers had boasted freely—and there were no questions about the motive. The boy had whistled at some white woman, refused to deny he had slept with others, and was a Northerner visiting the South. His name was Till.

Railroad Tommy was trying to keep the noise down so he could hear the last syllable of the newscaster’s words. In a few seconds it was over, since the announcer had only a few speculations and even fewer facts. The minute he went on to another topic of news, the barbershop broke into loud conversation. Railroad Tommy, the one who had tried to maintain silence, was himself completely silent now. He moved to his razor strop while Hospital Tommy tried to keep his customer in the chair. Porter, Guitar, Freddie the janitor, and three or four other men were exploding, shouting angry epithets all over the room. Apart from Milkman, only Railroad Tommy and Empire State were quiet—Railroad Tommy because he was preoccupied with his razor and Empire State because he was simple, and probably mute, although nobody seemed sure about that. There was no question whatever about his being simple.

Milkman tried to focus on the crisscrossed conversations.

“It’ll be in the morning paper.”

“Maybe it will, and maybe it won’t,” said Porter.

“It was on the radio! Got to be in the paper!” said Freddie.

“They don’t put that kind of news in no white paper. Not unless he raped somebody.”

“What you bet? What you bet it’ll be in there?” said Freddie.

“Bet anything you can lose,” Porter answered.

“You on for five.”

“Wait a minute,” Porter shouted. “Say where.”

“What you mean, ‘where’? I got five says it’ll be in the morning paper.”

“On the sports page?” asked Hospital Tommy.

“Or the funny papers?” said Nero Brown.

“No, man. Front page. I bet five dollars on front page.”

“What the fuck is the difference?” shouted Guitar. “A kid is stomped and you standin round fussin about whether some cracker put it in the paper. He stomped, ain’t he? Dead, ain’t he? Dead, ain’t he? Cause he whistled at some Scarlett O’Hara cunt.”