Solibo Magnificent

Patrick Chamoiseau

50 pages 1-hour read

Patrick Chamoiseau

Solibo Magnificent

Fiction | Novel | Adult | Published in 1997

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Part 1, Chapter 2Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of racism, graphic violence, physical abuse, and death.

Part 1: “Before the Word (Document of the Calamity)”

Part 1, Chapter 2 Summary: “My Friends! Here the Chief Sergeant Brings Back His Wretched Slappity-Slap and Gets All of Us in a Pickle (Tears for Whom? For Charlo’, of Course.)”

As the morning dawns “at the end of the wee hours” (41), the people around Solibo’s corpse begin to tell stories about him. Sidonise, the sherbert vendor, laments that they cannot give him a proper traditional funeral. She tells the audience that she had had an ongoing affair with Solibo for many years, even after she married Dalta, a civil servant. She explains that she always loved how Solibo made her laugh. Another man, Didon, who speaks “in a Creole which often brought to mind Guadeloupe” (43), tells a story about Solibo’s extraordinary abilities. He describes how a snake, or “long-one,” had attacked an old woman, Ma Goul, at the market. Solibo had calmed the snake with his words and captured it.


The narrator, Patrick, tells the audience what he knows about Solibo’s past. Solibo’s father had died, and his mother had been admitted to a mental health facility. Solibo had spent his childhood roaming the outskirts of the city. He was taken in by some old women at the market, who named him Solibo, “Creole for blackman fallen to his last peg—and no ladder to climb back up” (46). He had learned the art of storytelling from the old women.


Next, Charlo’, “in a city Creole” (47), tells the audience a story about Solibo. He describes how Ma Gnam, an old woman, had a pig that no one controlled long enough to kill it for Christmas dinner. She summoned Solibo, who was selling charcoal in the market at the time. He managed to talk to the pig until it was calm enough to be slaughtered for dinner.


Then, Chief Sergeant Bouaffesse and the police arrive at the scene. Bouaffesse approaches Solibo’s body and pushes it with his foot. Another policeman beats the corpse and threatens it with his gun. Only after there is no response do they realize that Solibo is dead. Bouaffesse springs into action and begins treating the area like a crime scene, labeling everyone in the audience a suspect in the murder of Solibo. When the paramedics arrive, the other police officers stop them from approaching the body and beat the paramedics badly. One of the paramedics, bleeding profusely, yells in Creole, “The Law makes people bleed” (54). They return to their ambulance.


The audience members try to flee, but Bouaffesse stops them. When Doudou-Ménar approaches Bouaffesse, he treats her with contempt. Another police man, Diab-Anba-Feuilles, intervenes between Bouaffesse and Doudou-Ménar. Doudou-Ménar retorts that she is the Devil and warns him, “If I start fighting with you it’s to the death” (57). Diab-Anba-Feuilles savagely beats Doudou-Ménar while spewing insults in Creole. When she has been rendered unconscious, the paramedics tell Bouaffesse that she must be taken to the hospital. Reluctantly, Bouaffesse allows her to be taken for treatment.


Meanwhile, manioc ants, “carriers of a famished eternity” (70), begin to cover Solibo’s body.


Bouaffesse begins to interview the witnesses. He begins with Charlo’ Gros-Liberté, a saxophonist. Charlo’ says he plays in the Combo Band orchestra. Diab-Anba-Feuilles retorts that that Orchestra has been disbanded. Charlo’ attempts to joke with Bouaffesse about it, but in the middle of laughing, Bouaffesse viciously slaps Charlo’, making him cry. More passers-by arrive as the day breaks. Congo takes off his suit to shield Solibo’s body from the onlookers’ stares.


Bouaffesse reflects on the strange situation and decides that everyone in the audience conspired to kill Solibo. He begins to interview Congo but quickly runs into problems because he insists on speaking French, a language that Congo does not speak. Bouaffesse reluctantly allows Congo to continue in Creole. Congo explains that Solibo died after yelling “Patat’ sa!” Bouaffesse grows frustrated with Congo’s replies and moves to slap him, but he is stayed by the comments from the crowd. They yell that Congo is an old man. The police beat the audience and put them in the police van.


Meanwhile, Doudou-Ménar, “the Terrible One,” (71) arrives at the hospital. She regains consciousness in the hospital and attacks the policeman guarding her (Nono-Goldenmaw, named for his gold tooth). She rips out part of his jaw. He starts beating Doudou-Ménar. She rips off the back door of the ambulance, then picks up Nono, “crumple[s] him” up, and throws him against the side of the ambulance. Then she collapses. Nono runs away. She regains consciousness and runs back toward town, swearing in Creole, “Diab-Anba-Feuilles, I’m going to kill you” (72).


Bouaffesse is perplexed by the crime, so he decides to call in Chief Inspector Pilon.

Part 1, Chapter 2 Analysis

In Chapter 2, the concept of Oral Tradition as a Marker of Creole Identity comes to the fore. This theme is primarily represented in the character of Solibo himself. As a storyteller, Solibo is symbolic of the importance of oral storytelling in Martinique culture, and his death is representative of the death of this tradition. However, even after he dies, this practice is maintained by others in the community through the practice of telling stories about Solibo. As Sidonise, Didon, Patrick, and Charlo’ recount their own experiences of interacting with Solibo, their storytelling calms the audience just as Solibo’s words once calmed the snake and pig featured in their tales. By telling these stories about the storyteller, they keep Solibo alive, and their actions are collectively symbolic of the idea that the very practice of storytelling keeps the Creole identity alive.


The audience members’ stories also highlight the concept of Language as a Form of Power. As their tales relate, Solibo was able to use his words to accomplish miracles, namely calming the snake and the pig. However, his words also served a more prosaic function by bringing joy to Sidonise and the other people who heard his stories. As Sidonise asserts, “He lit my life like a lamp!” (42). Thus, the power that Solibo wielded is inscribed partially within Christian symbolism. When he dies, Solibo’s body is described as being arrayed like Jesus on the cross. This Christian symbolism is further developed when Patrick recounts that Solibo’s name denotes “the fall”— as in the fall of humanity after Adam and Eve ate the fruit of knowledge in the Garden of Eden. Thus, Solibo himself can be understood as a Promethean figure who has brought light and knowledge to the world through the power of his words. Like Jesus, he can work miracles with these words, as shown when he tames the snake, a symbol of the Devil.


The role of Language as a Form of Power can also be seen through the lens of colonial authority, for the police use formal, bureaucratic French in concert with brutal violence as a way of exercising their control over the working-class people of Martinique. The connection between the French language and colonial violence is most clearly seen in Bouaffesse’s attempts to force Congo to speak French, a language the man does not speak. As the racist Bouaffesse reflects to himself, “The best way to corner this vicious old blackman was to track him down with French. The French language makes their heads swim, grips their guts, and then they skid like drunks down the pavement” (66). In this colonial logic, inflicting French on someone who does not speak it is commensurate with inflicting physical pain.


However, despite these detours into complex symbolism, the narrative and the characters continually exhibit various forms of Resistance Against Colonial Authority and Rationality. This dynamic is represented in the work through the use of magical realism, or the treatment of the extraordinary as mundane. Magical realism as a genre is closely associated with anticolonial literary works because it defies colonial logic and rationalization, and this pattern is most clearly portrayed through the actions of Doudou-Ménar when she suddenly revives in the ambulance and attacks the police officers with superhuman strength. In this moment, Doudou-Ménar symbolically represents a zombie. (Historically, during times when enslavement was widespread, enslavers would use zombie practices to control enslaved people in Haiti and elsewhere in the Caribbean.) In this scene, however, this logic is turned on its head, for Doudou-Ménar is transformed into a zombie with the primary goal of avenging herself against the colonial police officer who has killed her—namely Diab-Anba-Feuilles, whose name roughly translates to “Devil in the Grass.” Doudou-Ménar is therefore a zombie who fights on behalf of the colonized peoples.

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