by Peter Bruck
distortion. His parents' monetary, marital, and sexual problems are
only partially accessible to Sonny's understanding, so that we get a
detailed repor t o f wha t h e can observe, but little comment and no
coherent interpretation . Instea d we learn a lot about the efforts h e
has to make to control his bladder. The details we perceive through
the narrator' s consciousness , th e exac t meanin g o f whic h is ofte n
not clea r t o him , provid e th e materia l fo r th e conclusion s whic h
the (adult ) reader draw s fo r himself . Th e narrative focus certainly
is on Sonny' s ow n problems, most of which are caused or intensi-
fied by hi s parents ' quarrellin g an d separation . A t first h e onl y
realizes tha t somethin g i s wrong, and no t even this is very clear to
him. He lets his father in when his mother does not open the door,
not sur e whic h o f the m wil l punish hi m mor e severely , trying t o
please the m both . When Amy , angry an d hurt , trie s to ignore her
husband, th e onl y possibilit y Sonn y ca n thin k o f is , "Mama must
be gon e bac k t o sleep , because sh e don't answe r him." (9) . Even
his father's tear s and complaints apparently d o not move him — he
does no t kno w wha t the y mean . H e remain s passiv e whe n hi s
mother leave s th e house , takin g hi m wit h her . A t thi s stage th e
boy i s only a n observer , a peripheral figur e i n th e drama between
his father and mother.
At the end of the first sectio n the boy comes closer to the centre
of th e stage . O n hi s wa y t o schoo l h e seem s to leav e behind, —
though ver y reluctantly , — th e grown-up s with thei r conflicts and
their incomprehensibl e behaviour . H e enter s a differen t world :
that of his peers, the teacher, and his own tasks.
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In th e secon d rathe r shor t par t th e narrator's emphasis shifts t o
his ow n problems . Bu t stil l he is deeply concerne d wit h th e recen t
rupture o f hi s family . Thi s par t disclose s hi s emotiona l reactio n
to wha t h e (externall y immovabl e an d detached ) has observe d
before. H e feel s confusio n an d distres s a t hi s parents ' separation ,
and trie s to anticipat e wha t i t wil l mean in his everyday life :
I ain't go'n eat dinner at us house because me and Mama don't stay there
no more . I' m go' n ea t a t Gran'mon' s house. I don't kno w where Daddy
go'n eat dinner. He must be go'n cook his own dinner. (23)
His failur e i n clas s is clearl y th e resul t o f hi s parents ' quarre l an d
their preoccupation wit h thei r ow n concerns :
Everybody's studying their lesson, but I don't know mine. I wish I knowed
it, but I don't. Mama didn't teac h me my lesson last night, and she didn't
teach it to me this morning, and I don't know it. (23)
Thus hi s miser y forseeabl y take s it s course . Th e onl y surpris e fo r
Sonny i s hi s teacher' s reactio n whe n h e doe s not kno w his lesson,
wets himself , an d start s cryin g wit h hi s eye s shut , paralyse d wit h
fear. Wha t amaze s hi m i s th e fac t tha t h e i s neithe r beate n no r
scolded. Agai n th e adults ' conduc t seem s unpredictabl e an d im -
penetrable t o hi s understanding . Wit h mixe d feeling s h e trie s t o
cut of f hi s relation s t o othe r people , feelin g hur t an d rejecte d b y
his classmate s an d a strange r i n th e spher e o f adults . H e decide s
not t o com e bac k t o schoo l after lunch .
But "home, " no w hi s grandmother' s house , doe s no t shelte r
him fro m th e othe r children' s crue l teasin g an d hi s ow n feeling s
of sham e an d loneliness . A t th e openin g o f chapter thre e th e mai n
emphasis i s stil l o n Sonn y an d hi s emotions , whic h no w ar e mor e
in the open :
I go in the yard and I don't feel good any more. I know old Gran'mon go'n
start her fussing. Lor d in Heaven knows I get tired of all this fussing, day
and night. (29)
Very soon , however , h e i s thrus t int o th e backgroun d agai n an d
silently listen s t o hi s mother , grandmother , an d Mrs . Freddi e
Jackson, th e eterna l competito r fo r Amy' s affections , Grand -
mother's favorite , successful , eage r t o pleas e an d wi n Am y a t last .
It is true tha t Sonn y feel s he does not lik e him o r his grandmother .
But whe n Gran'mo n get s the gun and shoot s ove r his father's hea d
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to make him go away from thei r door the boy shows no emotion.
He joins his father whe n he calls to him, but during their Odyssey
- t o th e preacher' s house , back t o Eddie' s mother-in-law, then t o
Madame Toussaint's , the n throug h th e field s t o fin d somebod y
who might giv e him advic e an d len d hi m money , then bac k again
to th e hoodo o woma n — Sonn y hardl y speak s a word, except t o
tell Daddy that he is terribly tired and cold.
The very shor t fourt h sectio n show s Sonn y agai n detached and
silent; the onl y thin g he ca n thin k o f an d tal k abou t is his fear of
Madame Toussaint. Bu t hi s father doe s not liste n t o him while he
talks — h e ca n onl y thin k o f th e advic e he got: t o bur n hi s car —
not t o sel l it, o r t o giv e it away, or to spend less time on it, but t o
destroy it completely .
It i s only whe n the y come back to his grandmother's house and
meet hi s mother tha t th e chil d start s takin g part in the action. He
tries to tel l his mother about the advice his father wa s given at the
fortune-teller's, an d i s interrupted b y hi s parents again . But he is
not t o b e discourage d now. " " 'Come on , Daddy , (...) . Let' s go
burn u p th e car. ' " (67 ) A t the beginning of chapter five, in which
Eddie actuall y doe s wha t i s require d o f him , Sonn y urge s hi s
mother wit h simila r words : " 'Mama, Dadd y sa y com e o n if yo u
want se e th e burning . (... ) Com e on , Mama.'" (69 ) H e does not
explain anything , bu t hi s perception i s so attentive an d clea r that
he observes the most subtle changes in his parents' behaviour:
'Give me a hand down here,' Daddy calls [setting fire to the car]. But that
don't even sound like Daddy's voice. (71)
The child' s mind operate s a s a filter, receptive and sensitive. While
his parent s ar e stil l strugglin g th e narrato r tell s nothin g explici t
about hi s feelings. Bu t the y ar e unmistakably clea r fro m wha t h e
does an d says . Fro m th e momen t whe n he know s the conditio n
that wil l reunite hi s father an d mother , h e doe s everything in his
power to make them meet it. We learn nothing about his emotional
reaction when they are home again. But a new crisis seems to arise,
because hi s father a t firs t doe s not agree to beating his wife as she
bids him do. She threatens toleave him again, telling Sonny to take
his pot — fo r him a sure sign that she really means it and that they
are going to b e o n th e mov e again. Now he ca n no longer remain
silent:
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'Shucks,' I say. 'Now where we going? I'm getting tired walking in all that
cold. 'Fore you know it 'm go'n have whoopin
g cough.'
'Get your pot and stop answering me back, boy,' Mama says. I go to my
bed and pick up the pot again.
'Shucks,' I say. (73)
But a new rupture i s fortunately averted .
Significantly, Sonn y (wh o fro m hi s parents ' poin t o f vie w ha s
been i n th e backgroun d durin g th e tim e o f thei r separation ) no w
becomes th e centr e o f thei r concer n an d th e touchston e o f hi s
father's newl y assume d responsibility . H e i s goin g t o tak e car e o f
his son's problems in the sam e wa y his wife ha s done :
'One of us got to go to school with him tomorrow,' I hear Mama saying.
I se e her handin g Dadd y the note [hi s teacher gave him for his parents].
Daddy waves it back. 'Here,' she says.
'Honey, you know I don't kno w how to act in no place like that,' Daddy
says.
'Time to learn,' Mama says. She gives Daddy the note.
( )
'Your dadd y '1 1 carry yo u ove r i t [you r lesson ] tomorro w night,' Mama
says. 'One night me, one night you.' (76)
The author' s consisten t applicatio n o f the child's perspective results
in a paradoxicall y mixe d effec t o f immediac y o n on e han d an d
detachment o n th e other . Th e story' s authenti c ton e is accounte d
for b y th e fac t tha t i t use s th e firs t perso n singular , th e presen t
tense, an d th e vernacula r o f it s narrator ; bu t equall y importan t i s
the ingenuousnes s wit h whic h th e bo y record s wha t h e observes ,
but i s no t suppose d t o hea r an d see , especiall y th e adults ' sexua l
behavior, th e meanin g o f whic h he ca n onl y vaguel y sense . Thus he
intuitively feel s tha t hi s parent s ar e reconcile d whe n h e i s in be d
and listen s to th e familia r noises :
I hear the spring. I hear Mama and Daddy talking low, but I don't kno w
what they saying. (...) I hear the spring on Mama and Daddy's bed. I hear
it plenty now. It's some dark under here. It's warm. I feel good 'way under
here. (78 f.)
Sonny's retur n t o hi s womb-lik e shelte r carrie s th e emotiona l
overtones o f hi s new-foun d securit y an d happiness . A s far a s he is
concerned feeling s ar e seldom and insufficiently explaine d or talked
about; rarel y ar e the y perceive d o n th e consciou s leve l a t all . The
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emotional climat e i s partly expresse d b y th e boy' s accoun t o f his
physical condition . A s i n th e passag e quote d abov e th e contrast s
between war m an d col d an d betwee n darknes s an d dazzlin g light
generally impl y a figurative meaning . Th e chang e i n sensatio n
corresponds t o tha t i n th e boy's feeling: from stabilit y to fear and
loneliness, and back to safety .
That th e reade r gain s a n impressio n o f directnes s an d a t th e
same time o f remotenes s is, however, not onl y th e result o f what
we are told — an d wha t w e have t o conclud e fo r ourselve s — bu t
also of the manner in which it is told.
In thi s story dialogue , report, and interior monologue alternate.
Gaines i s sometime s criticize d fo r imitatin g Hemingwa y to o ob -
viously, by givin g a minute account of external details, marked by
repetitions, curtness , an d lac k o f causa l connections . Her e thes e
characteristics fit in well with the child's perspective which renders
things visibl e withou t explainin g them . Th e precisenes s o f th e
descriptions, moreover, implie s ironical overtones, since the adults
seem to think that he will not realize what is going on.
Narrative immediac y i s intensified b y the language of the story,
the vernacular o f th e regio n an d th e peopl e Gaine s spent mos t of
his lifetime with . "Blac k English, " the traditional Negro dialect of
the Souther n states , is the only language Sonny and his family an d
friends know . Everybod y use s it, excep t Mis s Hebert, the teacher.
Even th e preache r an d th e fortune-telle r belon g to th e "commo n
people" i n tha t the y thin k an d tal k th e sam e languag e a s th e
plantation workers.
•
On another leve l of the narrative texture the boy in his position
as central characte r serves as a mirror, reflecting his father's image.
He i s name d afte r hi s father, 3 thu s becomin g Eddie' s younge r
version. Eac h o f the m identifie s — thoug h unconsciousl y — wit h
the othe r o r looks upon hi m a s an extension o f himself. The two
worlds o f fathe r (adult ) and son (child) are very closely connecte d
and b y n o means as dissimilar a s they seem to be at first sight. By
making thei r attitude s and experiences cross and blend, the author
produces ironic implications, and offers ne w insights to the reader.
Right fro m th e beginnin g "Sonny " become s hi s father' s ally .
Whereas Am y answer s he r son' s question s wit h a "Yo u won' t
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understand, honey , (...) . Yo u to o young still, " (6) and the n almos t
excludes hi m fro m he r thought s an d feeling s durin g thi s day , hi s
father completel y turn s t o hi s six-year-ol d so n fo r suppor t whe n
he i s rejected b y his wife. I t is Sonny wh o open s the doo r fo r him .
Seeking comfort , Eddi e trie s to fin d i t in him, wherea s Amy want s
to kee p Sonn y ou t o f thei r conflict .
Eddie's effor t t o wi n hi s so n a s a n all y an d a frien d whe n hi s
wife turn s awa y fro m hi m i s mainl y base d o n th e fac t tha t h e is a
male child : th e fathe r look s upon hi m a s a second self , anticipatin g
a similar fat e fo r th e boy :
'A man need s somebod y to love him,' he says. (...) Th e sufferin g a man
got to go through in this world,' he says. 'Sonny, I hope you never have to
go through all this.' (13)
But thi s scene, pathetic a s it is showing Eddi e i n his helpless appea l
for lov e an d comfort , als o discloses the simple-minded and childish
elements in his character. H e imagines that Sonn y ca n be his frien d
and partner , hopin g tha t h e will give him wha t h e canno t ge t fro m
his wife :
'You lov e you r daddy , Sonny? ' (... ) 'Pleas e lov e me ' (... ) ' A man needs
somebody to love him.' (13)
'You love your daddy?' he says.
'Uh-huh,' I say.
'That's a good boy,' he says. 'Always love your daddy.'
'I love Mama, too. I love her more than I love you.' (15)
His complaint s an d demand s no t onl y see m inadequat e compare d
to Sonny' s capacity ; the y als o exhibi t Eddie' s sentimentalit y an d
self-pity. Unabl e t o tak e hi s fat e i n hi s ow n hands , althoug h h e
frequently refer s t o himsel f a s " a man, " Eddi e happil y regresse s
to a childlik e behaviour , whinin g an d makin g demand s o n othe r
people fo r unconditiona l love , o r trying to wi n i t back b y gesture s
of self-abasement , whic h are, however, ignored an d despise d b y hi s
wife: " 'Yo u go t a righ t t o b e mad, ' Dadd y says . ' I ain' t nothin g
but a ' ol d rotten dog.' " (15 ) Paradoxically, this is exactly th e kin d
of conduc t denie d t o th e child . He is not allowe d t o sta y i n bed, o r
&
nbsp; away fro m school , he is expected t o ac t responsibly, and no t t o b e
a whiner . Besides , he i s lef t alon e wit h his own fea r an d insecurit y
by everybody , excep t fo r th e compassio n an d car e h e receive s
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from hi s Uncle Al .
The effec t produce d b y th e overlappin g o f tw o sphere s - th e
adult's an d th e child' s - i s chiefl y on e o f comi c irony . I t i s rein -
forced b y th e fac t tha t th e fathe r an d th e son hav e similar relation -
ships t o othe r people . Bot h dislik e Amy' s mother an d ar e dislike d
by her. Bot h rely o n Am y t o tak e car e o f thei r problems .
Eddie's behaviou r during the course of the story increase s the im -
pression o f naïveté and simple-mindedness . H e wring s hi s hand s
and cries , standin g i n th e roa d i n fron t o f Gran'mon' s hous e unti l
she get s th e shotgu n an d threaten s him . H e seek s advic e fro m
various peopl e — bu t no t fro m himsel f — abou t ho w h e migh t ge t
his wif e back . Especiall y hi s superstition, which he obviously share s
with othe r me n o n th e plantation , seem s grotesque . Severa l me n
have bee n seekin g advice at Madam e Toussaint's , an d al l the advic e
she gav e the m fo r thei r goo d mone y i s exactl y wha t the y migh t
have easil y foun d ou t fo r themselves . Instead , everybod y consider s
her down-to-eart h suggestions , whic h invariabl y tur n ou t t o b e
helpful, th e resul t o f occul t powers . On thi s point Eddi e is equally
deluded.
Unable t o thin k abou t hi s problems, he want s to rely blindl y o n
other people' s experience s with similar — though different — marital
conflicts: '"Mayb e i f I try th e same thing , maybe I'l l b e able t o ge t
her back , too,' " h e say s (53) . H e i s grotesquel y mistake n an d ha s
to realiz e tha t wha t coul d hel p othe r peopl e solv e thei r problem s
is no cur e fo r his .
The solutio n a t firs t sigh t seem s t o b e a kin d o f magi c trick .
That i t i s no t ca n b e seen fro m Eddie' s reaction. H e has to mak e a
personal sacrific e i n orde r t o ge t hi s wif e back , an d h e suffers ,
since h e ha s neve r befor e ha d thi s experience. Throug h thi s act h e
undergoes a chang e whic h bear s th e mark s o f a tru e initiation .
