How can he not love your hair? It's his hair too. got to love it. He don't love it at all. hates it. (Song 315) This last declaration, uttered by a feverish, distraught, dangerously mentally ill Hagar Dead to her mother Reba and her grandmother Pilate comes midway through one of the most heart-wrenching scenes in Toni Morrison's Song of Solomon. In the passage, grandmother, mother, and daughter discuss whether Milkman, the novel's central character, Hagar's hair. By the time the scene has ended, it doesn't matter that Pilate has offered credible reasons why Milkman couldn't not love Hagar's hair - 'How can he love himself and hate your hair?' Pilate asks - Hagar is certain that Milkman is only attracted to with distinctly European and insists, with deadly finality, 'He's never going to like my hair.' Ultimately, all Pilate can say in reply is, 'Hush. Hush. Hush, girl, hush' (315-16). African-Americans, with their traditionally African features, have always had an uneasy coexistence with the European (white) ideal of beauty. According to Angela M. Neal and Midge L. Wilson, Compared to Black males, Black females have been more profoundly affected by the prejudicial fallout surrounding issues of skin color, facial features, and hair. Such impact can be attributed in large part to the importance of physical attractiveness for all women (328). For black women, the most easily controlled feature is hair. While contemporary black sometimes opt for cosmetic surgery or colored contact lenses, hair alteration (i.e., hair-straightening permanents, hair weaves, braid extensions, Jheri curls, etc.) remains the most popular way to approximate a white female standard of beauty. Neal and Wilson contend that much of the black female's obsession about skin color and features has to do with the black woman's attempting to attain a high desirability stem[ming] from her physical similarity to the white standard of beauty (328). But just whom do African-American hope to attract by attaining this high desirability? While there is some debate as to whether the choice of one's hair style automatically signifies one's alliance with, or opposition to, white supremacy, anecdotal evidence clearly points to the straightening of black hair as a way to fit, however unconsciously, into an overall white standard of beauty.(1) What is often overlooked, however, are specific black-male expectations where black-female hairstyles are concerned. In much the same way that men gravitate toward certain styles, behaviors, and attitudes that are more likely to attract attention from women, male must rate, on some level, as at least a consideration when a female hair style is chosen. Of course, the reasoning a woman employs while choosing a hair style ranges much further than simply trying to attract some man. Above all, no doubt, wear their hair in a style that pleases them. However, as Erica Hector Vital put it in a recent article about cutting off her dreads and retaining a short, natural style, certain Toni Morrison characters, such as Hannah in Morrison's Song of Solomon, Sula in a novella of the same name, and the girl-child Pecola of The Bluest Eye, all fall prey to dishonor and grief without the presence of the mothering voices to grant the essential reminders: Don't let your slip show, don't sneak off with the neighborhood boys, don't forget to do your lesson, don't be a fool with your hair no man likes a bald-headed woman.(11) While Vital did go on to cut her dreads - as she certainly should have, since that was her preference - one of the questions she asked herself in those final moments in the barber's chair was, . what will the brothers think? (12). This consideration of the black male's is not always on the surface, but, like the black male's regard for the black female's likes, it is there, subterranean. …
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