Guitar In Toni Morrison's Song Of Solomon

When Toni Morrison began her novel, Song of Solomon, she introduces her readers to a world in which Caucasian Americans have full power over their African American neighbors. Detailing the pessimistic treatment of African Americans, readers come to believe in the stereotypical “weak, black man,” of African Americans who allow themselves to be dominated, who see the dangers that are forced upon them and bow down to them, obliging to the torture and prejudice they face every day. This portrait of acceptance is broken, torn into a million pieces when Morrison goes in depth into the secondary character of her novel, Guitar, during the sixth chapter. In the previous 154 pages of Song of Solomon, Guitar is elucidated as simply the best friend of the main character, Milkman, as someone who is only present in the tale to listen to the problems of his friend and give knowledgeable advice. Until chapter 6, Guitar is nothing but a clear definition of “best-friend-forever,” someone who helps the main character but does nothing else, while Milkman is the reverse of him as he gets receives all of the attention of Morrison, detailing his character traits and identity. However, this title, as well as the accustomed African American stereotype, is crippled after a meeting between Milkman and Guitar that began on the topic of Hagar

It is not murder because it needs to happen. Taking the life of any Caucasian individual after the death of any African American is the responsibility of Guitar and “the seven days” society. There is no remorse in the eyes of Guitar nor the rest of the society as they fulfill their “service.” They are not like the “grown white men [who] cry about their dogs’” (52). They hang, burn, rape and murder Caucasian men, women and children and “comb their hair at the same time” (52) as a reward for their