Characters
Despite the grim outlook that Socrates ultimately presents, he embodies a crucial moral wisdom. His role transcends the typical expectations for someone with his history as an ex-convict or his challenging upbringing. Socrates was raised by a harsh father, and his father's death only saddened his mother because it meant she and Socrates would face hunger. By the time he reached adulthood, Socrates was a furious, aimless young man whose drinking habits led him into serious trouble. He laments that Irene Fortlow passed away before witnessing the remarkable transformation he underwent after prison, validating her choice in naming him. "We was poor and country," Socrates explains. "My mother couldn't afford school so she figured that if she named me after somebody smart then maybe I'd get smart."
The ex-convict fulfills his mother's aspirations by mirroring the character traits of the ancient Greek philosopher Socrates, regarded as the father of Western philosophy. The Socrates of Watts exhibits the philosopher's attributes of patience, self-discipline, commitment to reason over emotion, and an unwavering resolve to pursue what is right and just. Despite this, he remains a uniquely striking figure, as his emphasis on "know thyself"—a fundamental principle of the ancient philosopher—is adapted to meet urgent, modern social challenges. What sets Socrates apart is the depth of his character. He blends human imperfections and desires with a philosophical perspective that addresses universal concerns of harmony and happiness, as well as specific issues within the African American community.
Socrates is socially aware, introspective, unusually insightful, compassionate, streetwise, and practical. He continually battles personal demons of guilt, isolation, and the evil he perceives within himself. He acknowledges his potential for rage and violence and is wary of his own large hands. "I did it all wit' my hands," he says about his past killings. "I ain't never used no weapon." Socrates is tormented by troubling dreams and memories of prison. He is often haunted by the recollection of his past crimes and of a woman named Theresa, who might have been his lifelong partner had he not committed those acts. Although he still has desires, he refuses to let the hands that once took a life, including that of his friend Muriel, ever touch another person. Instead, he focuses on being disciplined and sociable.
Much like the ancient philosopher who was known for his unattractive appearance, baldness, simple attire, and profound nobility of spirit, Socrates engages the people around him in dialogue. He persuades, reprimands, and questions them to inspire those who have strayed to change their ways and become responsible community members. Occasionally, Socrates acts, reflects, and contemplates; however, he remains at the heart of every scenario, shaping its course. Most other characters, often met briefly, are primarily representations of the issues he addresses. Notably, there is eleven-year-old Darryl, who stands out because Socrates—again, like the ancient philosopher—focuses on the moral development of the young. He employs the classic Socratic method of dialogue with Darryl, who appears in several episodes.
The series of fourteen episodes begins with Darryl, showcasing Socrates' distinctive approach. "How you gonna make it right?" Socrates asks after they prepare and enjoy the rooster Darryl killed. The use of the bird reflects Socrates' practical and unemotional style. It also highlights the constant poverty and hunger faced by Socrates. "Boy is dead now," Socrates continues. "Rooster's dead too. We cain't change that. But you got to figure out where you stand." Persistently, Socrates encourages the boy to acknowledge his wrongdoing. "An' if that's the truth, an' if you could say it, then maybe you'll learn sumpin'. Maybe you'll laugh in the morning sometimes...
(This entire section contains 1640 words.)
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again."
This episode begins a lasting relationship because Socrates refrains from passing judgment. He refuses to be a role model or authority figure—"I ain't yo' warden"—and instead speaks "one black man to another one," guiding a guilt-ridden boy toward a liberating truth. Darryl represents the morally confused youth in whom Socrates sees a reflection of his own younger self, someone who could be saved if only someone had cared. Darryl's father died in prison, and his mother is preoccupied with a boyfriend. Initially, Darryl exhibits a "hard convict stare." Eventually, he trusts Socrates, seeking shelter from threatening gang members and the haunting dreams of the retarded boy he killed, despite himself. "An' since you did wrong now you got to do a good thing," Socrates advises as a remedy. "Try an' balance it out."
The trip to Marvane Street is meant to benefit Darryl. "'Fore you could do sumpin' you gotta know what the problem is," Socrates explains. He assists Darryl in recognizing what is already in front of him: the children, teenagers, and young adults who roam the streets. "That's yo' problem right there, Darryl," Socrates says, guiding his student toward a path of redemption and inner happiness. "To try'n think of a way that children don't get killed. Try'n make it better for whoever you can." Through his interactions with Marvane Street residents Luvia Prine and Right Burke—a whiskey-drinking, disabled, dying veteran and trusted friend of Socrates—Darryl learns the essence of genuine social work.
As the landlady to struggling individuals like Right, Luvia exemplifies genuine charity. Despite being frail and financially burdened, she manages her personal retirement home with donations from her church. Her actions highlight the shortcomings of the Young Africans, as Socrates observes. "I like what they say, but words ain't deeds," he tells Darryl. "They don't know how to deal wit' people." Luvia is the only person in the neighborhood who can uplift black people. She assists Socrates in finding a suitable foster home for Darryl, but only after being convinced by her tenant Right. Luvia's belief that Socrates is evil serves as another lesson for Darryl, who questions her unforgiving nature. Christians believe in redemption, Socrates explains. "But usually you have to die in order t'get it."
Socrates' philosophy is further illuminated through interactions with the patrons of the Capricorn Bookshop. Chatty customers like Big Bill, a real estate agent, and Minty Seale, an unemployed wallpaper hanger, lead the initially angry Socrates to a life-changing realization. He understands that he has been mentally enslaved by accepting others' lies and their "rules." Like the compassionate Luvia, the bookshop owners Oscar and Winifred Minette earn Socrates' respect for their crucial community contributions. "You started that store," Socrates tells Oscar, "made room for black men and women, and didn't take no collection and didn't tell 'em what to think." However, Oscar, who is praised for promoting "truth," also discusses a divine plan that Socrates finds unacceptable.
Customer Roland Winters, similar to Luvia, disapproves of Socrates for "thinkin' violence" and ignoring God. Eight years later, amid the Rodney King riots, Socrates and a terminally ill Roland reconcile in the remains of the burned bookshop. This moment allows Socrates to point out that whoever burned Oscar's store was doing "just what the man in blue wants," merely "followin' his rule." Another angle on the issue of African Americans betraying their community is presented through an episode with Wilfred, a particular type of thief. Wilfred, clad in "funky clothes" like those Socrates wears, commits thefts and robberies in affluent areas, then sheds his Watts-style attire to reveal a suit, vest, and silk tie. By the time the authorities apprehend him, he appears to be a prosperous, innocent individual.
"Stealin's right for the man takin' an' wrong fo' the man bein' took," Wilfred boasts to Socrates. "That's all they is to it." Wilfred is narrow-minded and lacks moral integrity, so loathsome that Socrates must restrain his own violent impulses. Wilfred's thefts undermine his "own brother's house," leading to increased prices to offset shoplifting losses. This behavior fuels racial tensions, similar to what Socrates experiences from white Bounty Supermarket managers Anton Crier and Halley Grimes, who refuse to employ him. "You the one out there stealin' from the white man an' blamin' me," Socrates tells Wilfred. "You hatin' them an' dressed like the ones you hate." Wilfred indulges in "the good life," enjoying good meals, while Socrates bears the consequences. "Me an' all the rest out here."
Ralphie McPhee, an adulterer encountered at a bus stop, offers another perspective on community spirit. In addition to the family turmoil Ralphie causes, he highlights the urgent need for camaraderie. Ralphie completely disregards Socrates, prompting an unusual, unwanted emotional outburst. "You cain't even see me when I'm standin' here right next to you," Socrates says tearfully, after first condemning Ralphie's infidelity. "An' you couldn't even nod to me." A different kind of emotional reaction leads Socrates to encounter Dolly Straight, an uncommon white character who runs an animal clinic. Dolly posts bail for Socrates after he uses his fists to defend an injured dog from an aggressive driver. She shows no apprehension towards Socrates, despite his race and tattered appearance. "If I see anyone who cares about animals, they're okay with me."
Dolly supports Socrates in front of his court-appointed lawyer and is taken aback when she is cautioned that he is a potential threat. The lawyer, a young African American woman, prompts Dolly to remark on a thematic issue that Socrates suggests. "I thought you black people helped each other out?" Dolly is among the few white characters, both kind and unkind, who appear in this narrative. The world is mostly populated by African Americans who drift in and out of various episodes: police officers, street dwellers, drug addicts and dealers, gang members, prison inmates, friends, concerned and indifferent neighbors, waitresses, grieving parents who lost a son to gang violence, a troubled Vietnam veteran and his carefree girlfriend, and even a telephone "party girl." Yet, the reader never loses sight of the profoundly compelling Socrates, and thus cannot forget "the poor black faces and brown faces of the men and women who didn't have a thing."
