Looking Through The Smoke In

“Sonny’s Blues” Essay, Research Paper

James Baldwin’s story of redemption and musical epiphany is filled with gritty realism and thematic uses of music and imagery. One of the strongest themes throughout the story is the use of cigarette smoking as a symbol of interpersonal barriers and depravity. The specific act of smoking not only provides substance to a number of characters within the story, but also symbolizes the dishonesty and unapproachable nature of each particular smoker. Likewise, each time a cigarette is tossed away or extinguished, the act is accompanied by brutal honesty and revelation. Cigarette smoke, then, exists as a character in the story rather than a mere byproduct of another habitual vice.

As the clich. phrase “smoke screen” suggests, the presence and creation of smoke are a character’s subconscious way of distancing him or herself from others within the story. Nearly every scene depicts a character in the act of smoking, particularly when confronted with difficult dialogue or when attempting to hide his or her feelings. When the narrator first learns of Sonny’s arrest, he immediately encounters a former associate of his brother’s. After learning through his narration how angry and contemptuous the narrator feels toward this shady character, “…now, abruptly, I hated him” (75), it becomes apparent how further irritated he is by the boy’s smug manner. His reply to the boy’s “repulsive” grin is to effectively disassociate himself from him through a wall of cigarette smoke: “I offered him a cigarette and I watched him through the smoke” (75). It is as if the unsavory drug addict and his irritating familiarity with the narrator’s brother are only tolerable through this protective veil.

The boy is aided by the smoke in a different manner. Through his “smoke screen,” he is able to deceive the narrator regarding the fate of his brother. He retains the cigarette as a means by which he can skirt the issue of what is to become of Sonny. At this point, the boy becomes openly honest only as he finishes the cigarette: “’Maybe he’ll even think he’s kicked the habit. Then they’ll let him loose’ — he gestured, throwing his cigarette into the gutter. ‘That’s all.’” (77). With that disposable gesture, it is as if the boy is either able to or can’t help telling the painful truth.

Baldwin’s narrator, feeling his mother’s burden of protector and keeper of his little brother, seems to have always utilized this strategic and subliminal defense mechanism. As the reminiscent order of the narrative shows, this is a device that has been used by Sonny and his older brother throughout their relationship. Following the death of their mother, the first time that the older brother must act out her request, the conversation between him and Sonny is punctuated by the lighting and smoking of cigarettes. Beginning openly and honestly, the brothers discuss Sonny’s future plans. When Sonny suggests that he dreams of being a musician, tension is created between the two. The narrator, feeling that his authority is being questioned and threatened, displays a tone of condescension, imploring Sonny to “Be serious”. He further preaches to his defensive little brother: “Well, you may think it’s funny now, baby, but it’s not going to be so funny when you have to make your living at it, let me tell you that” (84). His lack of understanding and parental chiding increase the unease between them, and, almost as if on cue, the cigarettes appear.

At Sonny’s mention of one of his favorite Jazz musicians, his older brother is bemused and lights a cigarette while smugly quipping, ” ‘You’ll have to be patient with me. Now. Who’s this Parker character.’ ‘He’s just one of the greatest jazz musicians alive,’ said Sonny, sullenly, his hands in his pockets, his back to [the narrator]” (85). As the narrator creates his protective screen, behind which he is able to dole out authoritarian advice, Sonny further distances himself by literally turning his back. Possibly recognizing his error, the narrator attempts to rationalize with his brother asking, “Doesn’t all this take a lot of time.” (85). The emotional damage, however, has been done.

Sonny responds: “He stopped at the kitchen table and picked up my cigarettes” (86), ironically not with just any cigarettes but the very ones which the narrator uses to create his own impenetrable veil of smoke. Testing his “courage to smoke in front of [the narrator],” he questions the very integrity of his supposed guardian (86). Sonny turns the tide of the conversation, inquiring about his older brother’s youthful activities, “Come on, now. I bet you was smoking at my age, tell the truth” (86). Grinning defensively at having his dreams of Jazz discounted, he jabs his elder where he is most sensitive. He threatens to join the army, which is his brother’s worst fear. When the narrator is able to ground him with the mention of school, the honesty returns, as Sonny relinquishes his cigarette and begins to reveal what is happening to him there.

There is a notable change in Sonny’s and the conversation’s tone at this point. Sonny’s mood becomes remarkably somber, and through his uncharacteristically serious comments, he reveals the very root of his problem. He implies that he feels trapped and helpless, accented by his discarding of the cigarette. The narrator remembers:

“I ain’t learning nothing in school,” he said. “Even w