You used to be in love with me baby
ever since the day we met;
You hear me, you used to love me baby
ever since the day we met.
But now I'm only a third beer for you baby
how more bubbly do you want me to get?
I can't simply let you go away baby
cannot bear the thought of us apart;
I'd rather take your life away baby
I said, no thoughts of us apart
Now I'm only a third beer for you baby
how more bubbly do you want me to get?
I gave you the whole love in the world baby,
now you don't want it no more;
You got bored after a dozen years together baby,
now you don't want me no more;
I was too abundant for you, I've lost my fervor,
still, I seem to want you more than before;
That's why I take this knife to stab you
hoping that you're either mine or alive no more;
You used to be in love with me baby
ever since the day we met;
But now I'm only a third beer for you baby
how more bubbly do you want me to get?
~ cover of B.B.King's "How Blue Can You Get" ~
Sunday, March 9, 2008
Thursday, February 28, 2008
Song of Solomon Ch.6
In Chapter 6 of the novel, the author presents two contrasting points of view - the ones of Milkman and Guitar. The two characters seem to take part in a metaphorical debate, in which each presents his own motifs for supporting his particular stand. For instance, Milkman represents the rather peaceful and servile position, which does not involve that much risk as that of the revolutionary and rebellious character of Guitar.
The main points of Milkman's reasoning rely primarily on simple logical connections. That is, his counterpoints to Guitar's arguments arise simply from the unclear parts of Guitar's own statements. For example, Milkman questions the logic of the very action of murdering a person. Guitar replies, "I just told you. It's necessary; it's got to be done. To keep the ratio the same" (Morrison 155). The debate between the two characters continues with Milkman doubting the use of violence when fighting violence. Moreover, the very act of killing innocent white men petrifies him, "What about nice ones? Some whites made sacrifices for Negroes. Real sacrifices" (Morrison 156). Engulfed by the ideology of the Seven Days, Guitar "fights back" every single point that Milkman makes including this one, "That just means there are one or two natural ones. But they haven't been able to stop the killing either. They are outraged, but that doesn't stop it. They might even speak out, but that doesn't stop it either. They might even inconvenience themselves, but the killing goes on and on. So will we" (Morrison 156). In other words, the author shows the social view on African-American violence over white men through the eyes of Milkman, which see simply lack of honor and reason in such deeds.
Another cause for Milkman taking this particular stand in the argument between the two characters could be found in his fear that such killings would eventually turn into habit or cause substantial damage to one's mind in the future. On one hand, murderers are deprived of any normal life in the present; as Milkman himself comments, "There is no love in it" (Morrison 159). On the other hand, the future psychological damage of committing a murder marks forever one's conscience: an aspect again taken into consideration by Milkman, "it's a habit. If you do it enough, you can do it to anybody. You know what I mean? A torpedo is a torpedo, I don't care what his reasons. You can off anybody you don't like. You can off me" (Morrison 161). In brief, not only does Milkman point out the near-future negative consequences of being a murderer, but also the ones that are to come a long time from now.
Milkman's final argument against Guitar's position concludes that there is no actual justice proclaimed upon each crime committed. That is, the fact that all the Seven Days does as an institution remains secret does not make the life of ordinary African-Americans any better. In fact, Milkman states directly this opinion of his, "Guitar, none of that shit is going to change how I live or how any other Negro lives. What you're diong is crazy" (Morrison 160). With his words, Milkman defends the common-sense position in this "debate" between him and Guitar. However, even by the end of the chapter, Milkman seems unable to convince Guitar of something different from Guitar's own ideology. In summary, although Milkman presents sound arguments regarding the reason behind the act of killing, the consequences of all these murders, and the lack of final outcome of all these efforts, his words seem to pass through Guitar with no actual effect on him.
The issue of justice between African-Americans and white people as shown in Song of Solomon could be compared to the motif of justice in Harper Lee's novel To Kill a Mockingbird. While Jem's father has the chance to enter a court room and be part of a real trial, according to Guitar, "There are places right now where a Negro still can't testify against a white man" (Morrison 160). However, the two pieces of literature resemble each other in the depiction of racial segregation throughout the narrative. After all, both authors discuss similar time periods with their idiosyncratic cultural as well as everyday-life aspects, thereby creating similar impressions in the audience. Nevertheless, despite the analogous atmosphere in both texts, Toni Morrison's work pictures a rather despondent view of the world of African-Americans, particularly through Guitar's perspective and his longing for revenge on white men.
The main points of Milkman's reasoning rely primarily on simple logical connections. That is, his counterpoints to Guitar's arguments arise simply from the unclear parts of Guitar's own statements. For example, Milkman questions the logic of the very action of murdering a person. Guitar replies, "I just told you. It's necessary; it's got to be done. To keep the ratio the same" (Morrison 155). The debate between the two characters continues with Milkman doubting the use of violence when fighting violence. Moreover, the very act of killing innocent white men petrifies him, "What about nice ones? Some whites made sacrifices for Negroes. Real sacrifices" (Morrison 156). Engulfed by the ideology of the Seven Days, Guitar "fights back" every single point that Milkman makes including this one, "That just means there are one or two natural ones. But they haven't been able to stop the killing either. They are outraged, but that doesn't stop it. They might even speak out, but that doesn't stop it either. They might even inconvenience themselves, but the killing goes on and on. So will we" (Morrison 156). In other words, the author shows the social view on African-American violence over white men through the eyes of Milkman, which see simply lack of honor and reason in such deeds.
Another cause for Milkman taking this particular stand in the argument between the two characters could be found in his fear that such killings would eventually turn into habit or cause substantial damage to one's mind in the future. On one hand, murderers are deprived of any normal life in the present; as Milkman himself comments, "There is no love in it" (Morrison 159). On the other hand, the future psychological damage of committing a murder marks forever one's conscience: an aspect again taken into consideration by Milkman, "it's a habit. If you do it enough, you can do it to anybody. You know what I mean? A torpedo is a torpedo, I don't care what his reasons. You can off anybody you don't like. You can off me" (Morrison 161). In brief, not only does Milkman point out the near-future negative consequences of being a murderer, but also the ones that are to come a long time from now.
Milkman's final argument against Guitar's position concludes that there is no actual justice proclaimed upon each crime committed. That is, the fact that all the Seven Days does as an institution remains secret does not make the life of ordinary African-Americans any better. In fact, Milkman states directly this opinion of his, "Guitar, none of that shit is going to change how I live or how any other Negro lives. What you're diong is crazy" (Morrison 160). With his words, Milkman defends the common-sense position in this "debate" between him and Guitar. However, even by the end of the chapter, Milkman seems unable to convince Guitar of something different from Guitar's own ideology. In summary, although Milkman presents sound arguments regarding the reason behind the act of killing, the consequences of all these murders, and the lack of final outcome of all these efforts, his words seem to pass through Guitar with no actual effect on him.
The issue of justice between African-Americans and white people as shown in Song of Solomon could be compared to the motif of justice in Harper Lee's novel To Kill a Mockingbird. While Jem's father has the chance to enter a court room and be part of a real trial, according to Guitar, "There are places right now where a Negro still can't testify against a white man" (Morrison 160). However, the two pieces of literature resemble each other in the depiction of racial segregation throughout the narrative. After all, both authors discuss similar time periods with their idiosyncratic cultural as well as everyday-life aspects, thereby creating similar impressions in the audience. Nevertheless, despite the analogous atmosphere in both texts, Toni Morrison's work pictures a rather despondent view of the world of African-Americans, particularly through Guitar's perspective and his longing for revenge on white men.
Thursday, February 21, 2008
Song of Solomon Ch.5
A key episode presented in the fifth chapter of Toni Morrison's work Song of Solomon goes back to Hagar's attempt to kill Milkman, and the reaction of both Hagar and Ruth to that event. The two women appear dependent on someone else, not physically, but rather mentally. For example, Hagar decides to murder Milkman as a revenge for his own actions. However, her feelings for him do not let her commit the crime. "Awed (even in the midst of her anger) by the very presence of her victim, she trembled violently and her knife thrusts and hammer swings and ice-pick jabs were clumsy" (Morrison 129). Thus, Hagar appears so emotionally dependent on Milkman, that she is unable to conduct her plan upon noticing him.
Other than Hagar's weakness due to Milkman's influence on her, Ruth also appears weak when confronting her son. Again, love is involved as a reason for her behavior. However, the fact that Milkman represents Ruth's moral triumph over Macon Jr. plays a role of rather greater importance when analysing the causes for Ruth's attitude towards her son. Toni Morrison comments, "Her son had never been a person to her, a separate real person. He had always been a passion. Because she had been so depserate to lie with her husband and have another baby by him, the son she bore was first off a wished-for bond between herself and Macon, something to hold them together and reinstate their sex lives" (Morrison 131). This episode comes to show that Ruth's love for her son not only as love for a child, but also as love for an abstract idea, which facilitated her life so far. In conclusion, both women exhibit weakness in terms of depending on an outside person; still, Hagar feels rather obsessed by Milkman as a person, while his mother Ruth worships the abstract concept of Milkman - a notion that helped her marriage and gave sense to her life as a whole.
The lyrics of Red Hot Chili Peppers' song given below relate to the idea of the savior that Milkman appears to be for both Ruth and Hagar. although his character could not be a perfect role model, the two women appear dependent on him. Thus, the very title of the song fits into the understanding of Milkman's role in his family, namely that of a savior. In fact, Milkman is the person who gives meaking to their lives, inspires them to advance in life, and losing him might cause each of them an identity loss. Therefore, Ruth and Hagar need him for a rather selfish act, namely for their own survival and self-preservation in the world.
RED HOT CHILI PEPPERS - SAVIOR
Dusting off your savior
You were always my favorite
Always my man - all in a hand
To celebrate you is greater
Now that I can - always my man
Now you see what I came for
No one here is to blame for
Misunderstand - all in a hand
Just like you cause you made me
All that I am - all in a hand
A butterfly that flaps its wings
Affecting almost everything
The more I hear the orchestra
The more I have something to bring
And now I see you in a beautiful
And different light
He's just a man and any damage done
Will be all right
Call out my name
Call and I came
Dusting off your savior
Forgiving any behavior
Hes just a man - all in a hand
Your hero's destined to waver
Anyone can - always my man
I would never betray you
Look at me who could raise you
Face in the sand - safe in your hand
You were always my favorite
Always my man - all in a hand
We are the red hots and
Were loving up the love me nots
The flowers in your flower pots
Are dancing on the table tops
And now I see you in a beautiful
And different light
He's just a man and everything he does
Will be all right
Call out my name
Call and I came
Dusting off your savior
The life that you have narrated
You were my man
Other than Hagar's weakness due to Milkman's influence on her, Ruth also appears weak when confronting her son. Again, love is involved as a reason for her behavior. However, the fact that Milkman represents Ruth's moral triumph over Macon Jr. plays a role of rather greater importance when analysing the causes for Ruth's attitude towards her son. Toni Morrison comments, "Her son had never been a person to her, a separate real person. He had always been a passion. Because she had been so depserate to lie with her husband and have another baby by him, the son she bore was first off a wished-for bond between herself and Macon, something to hold them together and reinstate their sex lives" (Morrison 131). This episode comes to show that Ruth's love for her son not only as love for a child, but also as love for an abstract idea, which facilitated her life so far. In conclusion, both women exhibit weakness in terms of depending on an outside person; still, Hagar feels rather obsessed by Milkman as a person, while his mother Ruth worships the abstract concept of Milkman - a notion that helped her marriage and gave sense to her life as a whole.
The lyrics of Red Hot Chili Peppers' song given below relate to the idea of the savior that Milkman appears to be for both Ruth and Hagar. although his character could not be a perfect role model, the two women appear dependent on him. Thus, the very title of the song fits into the understanding of Milkman's role in his family, namely that of a savior. In fact, Milkman is the person who gives meaking to their lives, inspires them to advance in life, and losing him might cause each of them an identity loss. Therefore, Ruth and Hagar need him for a rather selfish act, namely for their own survival and self-preservation in the world.
RED HOT CHILI PEPPERS - SAVIOR
Dusting off your savior
You were always my favorite
Always my man - all in a hand
To celebrate you is greater
Now that I can - always my man
Now you see what I came for
No one here is to blame for
Misunderstand - all in a hand
Just like you cause you made me
All that I am - all in a hand
A butterfly that flaps its wings
Affecting almost everything
The more I hear the orchestra
The more I have something to bring
And now I see you in a beautiful
And different light
He's just a man and any damage done
Will be all right
Call out my name
Call and I came
Dusting off your savior
Forgiving any behavior
Hes just a man - all in a hand
Your hero's destined to waver
Anyone can - always my man
I would never betray you
Look at me who could raise you
Face in the sand - safe in your hand
You were always my favorite
Always my man - all in a hand
We are the red hots and
Were loving up the love me nots
The flowers in your flower pots
Are dancing on the table tops
And now I see you in a beautiful
And different light
He's just a man and everything he does
Will be all right
Call out my name
Call and I came
Dusting off your savior
The life that you have narrated
You were my man
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