Toni Morrison - Song of Solomon
Mrs. Bains let her hand fall to her side. “A nigger in business is a terrible thing to see. A terrible, terrible thing to see.”
The boys looked at each other and back at their grandmother. Their lips were parted as though they had heard something important.
When Mrs. Bains closed the door, Macon Dead went back to the pages of his accounts book, running his fingertips over the figures and thinking with the unoccupied part of his mind about the first time he called on Ruth Foster’s father. He had only two keys in his pocket then, and if he had let people like the woman who just left have their way, he wouldn’t have had any keys at all. It was because of those keys that he could dare to walk over to that part of Not Doctor Street (it was still Doctor Street then) and approach the most important Negro in the city. To lift the lion’s paw knocker, to entertain thoughts of marrying the doctor’s daughter was possible because each key represented a house which he owned at the time. Without those keys he would have floated away at the doctor’s first word: “Yes?” Or he would have melted like new wax under the heat of that pale eye. Instead he was able to say that he had been introduced to his daughter, Miss Ruth Foster, and would appreciate having the doctor’s permission to keep her company now and then. That his intentions were honorable and that he himself was certainly worthy of the doctor’s consideration as a gentleman friend for Miss Foster since, at twenty-five, he was already a colored man of property.
“I don’t know anything about you,” the doctor said, “other than your name, which I don’t like, but I will abide by my daughter’s preference.”
In fact the doctor knew a good deal about him and was more grateful to this tall young man than he ever allowed himself to show. Fond as he was of his only child, useful as she was in his house since his wife had died, lately he had begun to chafe under her devotion. Her steady beam of love was unsettling, and she had never dropped those expressions of affection that had been so lovable in her childhood. The good-night kiss was itself a masterpiece of slow-wittedness on her part and discomfort on his. At sixteen, she still insisted on having him come to her at night, sit on her bed, exchange a few pleasantries, and plant a kiss on her lips. Perhaps it was the loud silence of his dead wife, perhaps it was Ruth’s disturbing resemblance to her mother. More probably it was the ecstasy that always seemed to be shining in Ruth’s face when he bent to kiss her—an ecstasy he felt inappropriate to the occasion.
None of that, of course, did he describe to the young man who came to call. Which is why Macon Dead still believed the magic had lain in the two keys.
In the middle of his reverie, Macon was interrupted by rapid tapping on the window. He looked up, saw Freddie peeping through the gold lettering, and nodded for him to enter. A gold-toothed bantamweight, Freddie was as much of a town crier as Southside had. It was this same rapid tapping on the window-pane, the same flash-of-gold smile that had preceded his now-famous scream to Macon: “Mr. Smith went splat!” It was obvious to Macon that Freddie now had news of another calamity.
“Porter gone crazy drunk again! Got his shotgun!”
“Who’s he out for?” Macon began closing books and opening desk drawers. Porter was a tenant and tomorrow was collection day.
“Ain’t out for nobody in particular. Just perched himself up in the attic window and commenced to waving a shotgun. Say he gotta kill him somebody before morning.”
“He go to work today?”
“Yep. Caught the eagle too.”
“Drunk it all up?”
“Not all of it. He only got one bottle, and he still got a fist fulla money.”
“Who’s crazy enough to sell him any liquor?”
Freddie showed a few gold teeth but said nothing, so Macon knew it was Pilate. He locked all his drawers save one—the one he unlocked and took a small .32 from.
“Police warn every bootlegger in the county, and he still gets it somehow.” Macon went on with the charade, pretending he didn’t know his sister was the one Porter and anybody else—adult, child, or beast—could buy wine from. He thought for the hundredth time that she needed to be in jail and that he would be willing to put her there if he could be sure she wouldn’t loudmouth him and make him seem trashy in the eyes of the law—and the banks.
“You know how to use that thing, Mr. Dead, sir?”
“I know how.”
“Porter’s crazy when he drunk.”
“I know what he is.”
“How you aiming to get him down?”
“I ain’t aiming to get him down. I’m aiming to get my money down. He can go on and die up there if he wants to. But if he don’t toss me my rent, I’m going to blow him out of that window.”
Freddie’s giggle was soft, but his teeth strengthened its impact. A born flunky, he loved gossip and the telling of it. He was the ear that heard every murmur of complaint, every name-calling; and his was the eye that saw everything: the secret loving glances, the fights, the new dresses.
Macon knew Freddie as a fool and a liar, but a reliable liar. He was always right about his facts and always wrong about the motives that produced the facts. Just as now he was right about Porter having a shotgun, being in the attic window, and being drunk. But Porter was not waiting to kill somebody, meaning anybody, before morning. In fact he was very specific about whom he wanted to kill—himself. However, he did have a precondition which he shouted down, loud and clear, from the attic. “I want to fuck! Send me up somebody to fuck! Hear me? Send me up somebody, I tell ya, or I’ma blow my brains out!”
As Macon and Freddie approached the yard, the women from the rooming house were hollering answers to Porter’s plea.
“What kinda bargain is that?”
“Kill yourself first and then we’ll send you somebody.”
“Do it have to be a woman?”
“Do it got to be human?”
“Do it got to be alive?”
“Can it be a piece of liver?”
“Put that thing down and throw me my goddam money!” Macon’s voice cut through the women’s fun. “Float those dollars down here, nigger, then blow yourself up!”
Porter turned and aimed his shotgun at Macon.
“If you pull that trigger,” shouted Macon, “you better not miss. If you take a shot you better make sure I’m dead, cause if you don’t I’m gonna shoot your balls up in your throat!” He pulled out his own weapon. “Now get the hell outta that window!”
Porter hesitated for only a second, before turning the barrel of the shotgun toward himself—or trying to. Its length made it difficult; his drunkenness made it impossible. Struggling to get the right angle, he was suddenly distracted. He leaned his shotgun on the window sill, pulled out his penis and in a high arc, peed over the heads of the women, making them scream and run in a panic that the shotgun had not been able to create. Macon rubbed the back of his head while Freddie bent double with laughter.
For more than an hour Porter held them at bay: cowering, screaming, threatening, urinating, and interspersing all of it with pleas for a woman.
He would cry great shoulder-heaving sobs, followed by more screams.
“I love ya! I love ya all. Don’t act like that. You women. Stop it. Don’t act like that. Don’t you see I love ya? I’d die for ya, kill for ya. I’m saying I love ya. I’m telling ya. Oh, God have mercy. What I’m gonna do? What in this fuckin world am I gonna dooooo?”
Tears streamed down his face and he cradled the barrel of the shotgun in his arms as though it were the woman he had been begging for, searching for, all his life. “Gimme hate, Lord,” he whimpered. “I’ll take hate any day. But don’t give me love. I can’t take no more love, Lord. I can’t carry it. Just like Mr. Smith. He couldn’t carry it. It’s too heavy. Jesus, you know. You know all about it. Ain’t it heavy? Jesus? Ain’t love heavy? Don’t you see, Lord? You own son couldn’t carry it. If it killed Him, what You think it’s gonna do to me? Huh? Huh?” He was getting angry again.
“Come down outta there, nigger!” Macon’s voice was still loud, but it was getting weary.
“And you, you baby-dicked baboon”—he tried to point at Macon–“you the worst. You need killin, you really need killin. You know why? Well, I’m gonna tell you why. I know why. Everybody…”
Porter slumped down in the window, muttering, “Everybody know why,” and fell fast asleep. As he sank deeper into it, the shotgun slipped from his hand, rattled down the roof, and hit the ground with a loud explosion. The shot zipped past a by stander’s shoe and blew a hole in the tire of a stripped Dodge parked in the road.
“Go get my money,” Macon said.
“Me?” Freddie asked. “Suppose he…”
“Go get me my money.”
Porter was snoring. Through the blast of the gun and the picking of his pocket he slept like a baby.
When Macon walked out of the yard, the sun had disappeared behind the bread company. Tired, irritable; he walked down Fifteenth Street, glancing up as he passed one of his other houses, its silhouette melting in the light that trembled between dusk and twilight. Scattered here and there, his houses stretched up beyond him like squat ghosts with hooded eyes. He didn’t like to look at them in this light. During the day they were reassuring to see; now they did not seem to belong to him at all—in fact he felt as though the houses were in league with one another to make him feel like the outsider, the propertyless, landless wanderer. It was this feeling of loneliness that made him decide to take a shortcut back to Not Doctor Street, even though to do so would lead him past his sister’s house. In the gathering darkness, he was sure his passing would be unnoticed by her. He crossed a yard and followed a fence that led into Darling Street where Pilate lived in a narrow single-story house whose basement seemed to be rising from rather than settling into the ground. She had no electricity because she would not pay for the service. Nor for gas. At night she and her daughter lit the house with candles and kerosene lamps; they warmed themselves and cooked with wood and coal, pumped kitchen water into a dry sink through a pipeline from a well and lived pretty much as though progress was a word that meant walking a little farther on down the road.
Her house sat eighty feet from the sidewalk and was backed by four huge pine trees, from which she got the needles she stuck into her mattress. Seeing the pine trees started him thinking about her mouth; how she loved, as a girl, to chew pine needles and as a result smelled even then like a forest. For a dozen years she had been like his own child. After their mother died, she had come struggling out of the womb without help from throbbing muscles or the pressure of swift womb water. As a result, for all the years he knew her, her stomach was as smooth and sturdy as her back, at no place interrupted by a navel. It was the absence of a navel that convinced people that she had not come into this world through normal channels; had never lain, floated, or grown in some warm and liquid place connected by a tissue-thin tube to a reliable source of human nourishment. Macon knew otherwise, because he was there and had seen the eyes of the midwife as his mother’s legs collapsed. And heard as well her shouts when the baby, who they had believed was dead also, inched its way headfirst out of a still, silent, and indifferent cave of flesh, dragging her own cord and her own afterbirth behind her. But the rest was true. Once the new baby’s lifeline was cut, the cord stump shriveled, fell off, and left no trace of having ever existed, which, as a young boy taking care of his baby sister, he thought no more strange than a bald head. He was seventeen years old, irreparably separated from her and already pressing forward in his drive for wealth, when he learned that there was probably not another stomach like hers on earth.
Now, nearing her yard, he trusted that the dark would keep anyone in her house from seeing him. He did not even look to his left as he walked by it. But then he heard the music. They were singing. All of them. Pilate, Reba, and Reba’s daughter, Hagar. There was no one on the street that he could see; people were at supper, licking their fingers, blowing into saucers of coffee, and no doubt chatterning about Porter’s escapade and Macon’s fearless confrontation of the wild man in the attic. There were no street lights in this part of town; only the moon directed the way of a pedestrian. Macon walked on, resisting as best he could the sound of the voices that followed him. He was rapidly approaching a part of the road where the music could not follow, when he saw, like a scene on the back of a postcard, a picture of where he was headed—his own home; his wife’s narrow unyielding back; his daughters, boiled dry from years of yearning; his son, to whom he could speak only if his words held some command or criticism. “Hello, Daddy.” “Hello, son, tuck your shirt in.” “I found a dead bird, Daddy.” “Don’t bring that mess in this house.” There was no music there, and tonight he wanted just a bit of music—from the person who had been his first caring for.
He turned back and walked slowly toward Pilate’s house. They were singing some melody that Pilate was leading. A phrase that the other two were taking up and building on. Her powerful contralto, Reba’s piercing soprano in counterpoint, and the soft voice of the girl, Hagar, who must be about ten or eleven now, pulled him like a carpet tack under the influence of a magnet.
Surrendering to the sound, Macon moved closer. He wanted no conversation, no witness, only to listen and perhaps to see the three of them, the source of that music that made him think of fields and wild turkey and calico. Treading as lightly as he could, he crept up to the side window where the candlelight flickered lowest, and peeped in. Reba was cutting her toenails with a kitchen knife or a switchblade, her long neck bent almost to her knees. The girl, Hagar, was braiding her hair, while Pilate, whose face he could not see because her back was to the window, was stirring something in a pot. Wine pulp, perhaps. Macon knew it was not food she was stirring, for she and her daughters ate like children. Whatever they had a taste for. No meal was ever planned or balanced or served. Nor was there any gathering at the table. Pilate might bake hot bread and each one of them would eat it with butter whenever she felt like it. Or there might be grapes, left over from the winemaking, or peaches for days on end. If one of them bought a gallon of milk they drank it until it was gone. If another got a half bushel of tomatoes or a dozen ears of corn, they ate them until they were gone too. They ate what they had or came across or had a craving for. Profits from their wine-selling evaporated like sea water in a hot wind—going for junk jewelry for Hagar, Reba’s gifts to men, and he didn’t know what all.
Near the window, hidden by the dark, he felt the irritability of the day drain from him and relished the effortless beauty of the women singing in the candlelight. Reba’s soft profile, Hagar’s hands moving, moving in her heavy hair, and Pilate. He knew her face better than he knew his own. Singing now, her face would be a mask; all emotion and passion would have left her features and entered her voice. But he knew that when she was neither singing nor talking, her face was animated by her constantly moving lips. She chewed things. As a baby, as a very young girl, she kept things in her mouth—straw from brooms, gristle, buttons, seeds, leaves, string, and her favorite, when he could find some for her, rubber bands and India rubber erasers. Her lips were alive with small movements. If you were close to her, you wondered if she was about to smile or was she merely shifting a straw from the baseline of her gums to her tongue. Perhaps she was dislodging a curl of rubber band from inside her cheek, or was she really smiling? From a distance she appeared to be whispering to herself, when she was only nibbling or splitting tiny seeds with her front teeth. Her lips were darker than her skin, wine-stained, blueberry-dyed, so her face had a cosmetic look—as though she had applied a very dark lipstick neatly and blotted away its shine on a scrap of newspaper.
