Symbolism as a literary tool has been available to writers since the very beginning of literature as such. According to its name, it implies the use of symbols in order to convey the message indirectly. A symbol as such is not tied to anything in particular – it can be a person, object, or place that, apart from its actual meaning, figuratively implies a more complex context. For instance, the Sula novel written by Toni Morrison holds numerous symbols that, due to the number of possible interpretations, illustrate the true meaning behind the text – ambiguity.
The Birthmark
One of the most obvious symbols presented in the novel is a large birthmark on the forehead of one of the story’s protagonists – Sula Peace. Due to its position and size, the natives of Bottom frequently express their visual associations, hardly being able to ignore the mark. The ambiguity of the birthmark is apparent from the author’s description of the mark: “The birthmark over her eye was getting darker and looked more and more like a stem and rose” (Morrison 74). Particularly, the mark grew darker with Sula’s age, which can be interpreted as her becoming more mature. Moreover, it also corresponds to the character’s emotional state in her fight against the growing sadness.
In the meantime, the author’s comparison of the birthmark with a rose contributes to Sula’s feminine qualities. In this regard, Sula’s feminine qualities are often contraposed to various masculine manifestations, such as the desire for freedom and independence not accessible to women of that time (Nedaee and Salami 117). The combination of these factors portrays Sula as a rather androgynous character that combines the beauty of a young female and a strong will of a committed man. The former invokes positive responses in the story’s characters, whereas the latter is the reason why the Bottom community cannot accept Sula as she is.
Apart from physically distinguishing Sula from other characters, the birthmark allows readers to learn more about the people Sula meets throughout the narration. Similar to Rorschach’s inkblot psychological test, it reveals the thoughts, fears, and concerns of anyone who attempts to interpret it. The characters that display negative attitudes toward Sula associate the mark with a snake, implying Sula is evil and even dangerous to society (Morrison 104). Meanwhile, Shadrack, the fisherman, sees a tadpole in it, which might imply he saw the strength and potential of youth in Sula (Morrison 156). All in all, the birthmark proves to be an ultimate symbol in the story due to its overwhelming and multifaceted ambiguity.
Fire
Fire plays an important role in the plot, namely because it is the reason behind the deaths of Sula’s family members – Hannah and Plum. On the one hand, fire can be considered a dreadful and destructive factor that ended Hannah and Plum’s lives and brought great sorrow to Sula. On the other hand, however, Morrison leaves various clues that picture the fire as beautiful and even merciful. The fire’s beauty is conveyed through the author’s effort to describe the events in a particularly detailed fashion. In turn, the fire’s mercy is figuratively implied in Plum’s case since it managed to end his deep suffering due to war memories and heroin addiction (Morrison 45). Overall, the fire’s contradicting qualities can be interpreted as a symbol of life as such and its complex, ever-changing nature. In addition, fire can symbolize Sula’s character as well since she can both burn and soothe in the same fashion.
The Plague of Robins
Upon Sula’s return to her hometown after the long journey toward self-realization, she noticed a large flock of birds in the sky. Morrison provides an unusual description, calling it a “plague of robins” (89). The plague becomes the symbolic association the people of Bottom have regarding Sula’s return (Pruitt 117). They are not able to accept her way of life and worldview, which is why they attempt to portray Sula as a bad omen. In this context, Morrison intentionally used the word “plague,” which does not fit the context of flying birds. It signalizes the subjective freedom of interpretation, or, in other words, that people see what they wish to see. Even a flock of birds can become an ominous sign if it is labeled a “plague.” Thus, the plague of robins symbolizes bias, once again highlighting the variety of meanings different people can have regarding the same object.
Conclusion
By providing greatly ambiguous symbols, Morrison conveys her message regarding ambiguity and the power of interpretation. Sula’s birthmark proves to be the symbol with the greatest number of interpretations. Not only is it seen differently from the perspective of the book’s characters, but it also leaves room for readers to decide. Meanwhile, the fire that simultaneously brings dread and salvation showcases that even the most contradicting qualities can coexist within one symbol. Finally, the appearance of the plague of robins – an event that can be seen both positively and negatively – illustrates how subjective and willingly blind people can be in their judgment.
Works Cited
Morrison, Toni. Sula. New York: New American Library, 1987. Print.
Nedaee, Naeem, and Ali Salami. “Toward an Affective Problematics: A Deleuze-Guattarian Reading of Morality and Friendship in Toni Morrison’s ‘Sula.’” Atlantis (Salamanca, Spain), vol. 39, no. 1, 2017, pp. 113–31.
Pruitt, Claude. “Circling Meaning in Toni Morrison’s ‘Sula.’” African American Review, vol. 44, no. 1/2, 2011, pp. 115–29, Web.