Realism In Toni Bambara's Blues Aint No Mockin Bird

In James Baldwin’s short story, Sonny’s Blues, he describes a story of pain and prejudice. The theme of suffering makes the readers relate to it. The story is told in the realistic point of view of Sonny’s brother. The setting and time of the story also has great significance to the story. From beginning to end, the story is well developed.

The novel “To Kill a Mocking Bird” is based in the fictional small Southern town of Maycomb, Alabama in the 1930s. When slavery and the Civil War were still present in the people’s way of living and the civil rights movement of the 1950s and '60s are far from close. The novel focuses on the Finches: Scout, her brother Jem, and their father Atticus, and the trial of Tom Robinson and how it affected them and the town. Witnessing the injustice of Tom Robinson’s trial changed Scout Finch in many ways. Scout learns that there is more than one type of courage, she learns about race and its complexity, and she also changes how she views the people around her by putting herself

Many tragic events happen in this short story that allows the reader to create an assumption for an underlying theme of racism. John Baldwin has a way of telling the story of Sonny’s drug problem as a tragic reality of the African American experience. The reader has to depict textual evidence to prove how the lifestyle and Harlem has affected almost everything. The narrator describes Harlem as “... some place I didn’t want to go. I certainly didn’t want to know how it felt. It filled everything, the people, the houses, the music, the dark, quicksilver barmaid, with menace; and this menace was their reality” (Baldwin 60). Another key part in this story is when the narrator and Sonny’s mother is telling the story of a deceased uncle. The mother explains how dad’s brother was drunk crossing the road and got hit by a car full of drunk white men. Baldwin specifically puts emphasis on the word “white” to describe the men for a comparison to the culture of dad and his brother.

As Bryan Crable notes, Burke and Ellison had the closest intellectual and social relationship when Burke was writing A Rhetoric of Motives—and, I would add, when Ellison was writing Invisible Man. Crable points out that the Rhetoric is “the only one of Burke’s books to cite Ellison,” in large part because Ellison’s 1945 essay “Richard Wright’s Blues” (which called Wright’s just-released memoir Black Boy “a nonwhite intellectual’s statement of his relationship to western culture” that illuminates a “conflicting pattern of identification and rejection” à la Joyce, Nehru, and Dostoyevsky) had a major influence on Burke “only one month into serious work on his now-canonical text” (“Blues” 263–64, Crable 47–48). The claim that the friendship was important for both Burke and Ellison is certainly true, intervening in a longstanding scholarly conversation on the Burkean influences apparent in Invisible Man (and other works of Ellison’s) that paid little attention to the ways in which Ellisonian ideas in fact inspired Burke’s work as well. Even with this helpful addition of Crable’s, though, the scholarly consensus seems to suggest that Ellison employed Burke’s philosophies of literary form in his composition of Invisible Man, while Burke developed his “thoughts on the rhetorical dimensions of race” based on Ellison’s insights about the conflicts between “individual identity” and “racial identity” (Crable 47–48). All of this is correct, but its understanding of the Burke-Ellison

James Baldwin’s short story “Sonny’s Blues” was a great tale of the struggles shared between two brothers in Harlem in 1957. This story is about two African American brothers who, unfortunately, grew apart as the aged. The plot shows the struggles the two brothers faced as they grew up in Harlem, and in return, the two drastically different paths they perused. James Baldwin was an African American who grew up in Harlem in the 1930s and 40s. Baldwin was the oldest of nine children, and grew up in a very poor family, having a very bad relationship with his stepfather. Baldwin followed in his stepfather’s footsteps in becoming a preacher, but as he was studying to do so, he realized that his true calling was to become a writer. Baldwin

In each story, the narrators’ misunderstanding of their family’s needs produces hardships and struggles as their loved ones find their identity alone. In “Sonny’s Blues,” the

In the short story, Sonny’s Blues, by James Baldwin, there are two brother that live in Harlem during the Harlem Renaissance. The older brother, whose name is never mentioned, was given responsibility of Sonny by their mother before she passed away. Sonny is the younger of the two and wants to be a jazz pianist, but his older brother does not understand this, while he is an algebra school teacher. Sonny and his brother stop communicating. Later, the older brother is going to his job when he sees in the newspaper that his younger brother, Sonny, had been arrested for selling and possessing cocaine, or as it is called in the story, horse. Sonny’s brother never writes Sonny in jail until his daughter, Grace, died of polio. After Sonny gets out of jail, they begin to get close and his brother starts to appreciate Sonny’s love for jazz.

From the creation of harmonies to singing to instruments, music has been an abstract form of human expression. Although an auditory collection of pitches and volumes, musicians can manipulate the same notes and bring them alive for their audiences. The true emotion and energy that’s felt in music really comes from the player as feelings are transferred to and through the listener. This interaction between performer and the house is catharsis, the complete release of strong repressed emotions. Thanks to the musician, music has the ability to grasp people and cause them to sense emotions and feelings without lyrics or images even being necessary. Although it’s believed we can only hear with our ears, something about music makes it emotionally if not physically tangible. In James Baldwin’s short story “Sonny’s Blues,” a narrator certainly unaware of the impact of music invites himself to experience jazz for the first time. Baldwin uses the final scene of his story to argue that music has an effect on those who are able to experience it. Baldwin does this in one single moment by letting the fixed, practical minded, “well-intentioned” narrator experience catharsis from jazz as his growing, free-spirited brother communicates with him through jazz.

In the story of “Sonny’s Blues,” by Baldwin, the beginning of the story finds Sonny’s brother on his way to work reading about Sonny’s predicament. Sonny got arrested for “peddling and using heroin.” He didn’t want to believe that his brother was in trouble. While teaching his algebra class he was thinking about the past. He remembered when he first suspected his Sonny of using Heroin. He was always under the impression that Sonny was, “wild, but he wasn’t crazy. And he’d always been a good boy.” So he refused to believe that his brother was in trouble and needed him.

In James Baldwin’s short story “Sonny’s Blues,” one of the most pertinent themes throughout the story is the contrast and duality of light and darkness. More specifically, the author explores this theme by using light and darkness to explain the characters coming to terms with their realities and the realities of many people who live in their community. The theme also is key in explaining the relationship between Sonny and the narrator. In this paper, I intend to explain the significance of the tension of identifying one’s reality in “Sonny’s Blues,” by exploring the many instances that Baldwin uses light and darkness to explore one’s reality.

In the story “Sonny’s Blues”, written by James Baldwin, the narrator and his younger brother, Sonny, interact with musical elements that serve as a redemption for Sonny. Baldwin believes in the power of music to rescue or minimize the suffering that people go through. Both characters isolate themselves with several instances of music and issue their reactions toward it. Sonny is an uprising musician that wants to portray his life by playing the piano. This story is about Sonny’s Blues. His sadness about his escape from his childhood, his frustration with being a musician, as well as the lack of support from his brother, when he knew that Sonny was hurting the most, are expressed through the wooden black and white keys. At first, Sonny uses

The purpose of the story Sonny’s Blues, in relation to the public image of young Black men.

At first glance, "Sonny's Blues" seems ambiguous about the relationship between music and drugs. After all, the worlds of jazz and drug addiction are historically intertwined; it could be possible that Sonny's passion for jazz is merely an excuse for his lifestyle and addiction, as the narrator believes for a time. Or perhaps the world that Sonny has entered by becoming involved in jazz is the danger- if he had not encountered jazz he wouldn't have encountered drugs either. But the clues given by the portrayals of music and what it does for other figures in the story demonstrate music's beneficial nature; music and drugs are not interdependent for Sonny. By studying the

Each story ever written has many literary elements within it. Elements such as setting, characters, resolution, plot, and lastly conflict, Conflict is a major part of any story. The plot is centered around any sort of conflict in a short story or novel. It creates challenges with the story and within the characters. It keeps a reader entertained enough to see if the characters overcome those hardships. James Baldwin’s story, “Sonny’s Blues”, uses conflict as the main concept of the story, the conflicts and struggles wither make or break the characters in the story.

There are several stylistic characteristics of the blues. The first one is the blue notes, which is the "bent" technique for lowering the pitch of third and seventh scale degrees in the major scale(259). The next one is the blue chorus, which is three-line lyrics, and it contains fill which is the instrument response of the call and response between vocal and instrument. The third feature is the blue progression which is the form of the combination between tonic(I), subdominant(IV), and dominant(V) chords. It is usually arranged as: I- / IV- I- / V- I-. Another characteristic is that the timbre of the vocals in blues have a wide varieties. Every single piece of blue music features a different kind of vocal texture. The rhythm in the blues has a characteristic called "swung" which means the long-short pattern of the rhythm. In all three pieces of music, the blue note and the blue chorus are applied to the composition. The "bent" texture of the pitch and the neat separation of the lyrics can be easily notice in the music. The call and response in vocals and instruments, on the other hand, is not so obvious in "Can 't Help Lovin ' Dat Man," but I think, though subtle, it is still there at the end of each line. The rhythm in the "Muleskinner Blues" is more steady instead of the long- short patterned "swung." The "swung" is not so obvious in "Can 't Help Lovin ' Dat Man," either. Overall, there are some standard blue style in all three pieces of music, but we