Tropic of Capricorn: Analysis of Major Characters
"Tropic of Capricorn," written by Henry Miller, delves into the complexities of life and the human condition through a rich tapestry of characters. The protagonist, Miller himself, navigates his experiences with an unconventional narrative style that incorporates stream-of-consciousness and philosophical reflections. He presents a life characterized by existential musings, a lack of ambition, and a rejection of societal norms. His relationships with various women, including Lola Niessen and Valeska, reveal his obsession with femininity alongside a profound emotional detachment.
The novel features characters like Gottlieb Leberecht Müller, who serves as Miller's alter ego and embodies his artistic struggles, and Steve Romero, who contrasts with the morally ambiguous figures in Miller's world. Other characters, such as Hymie Laubscher and MacGregor, showcase the diverse social dynamics within Miller's life, each contributing to the themes of identity, desire, and the search for meaning. As Miller reflects on his past, including the friendships and experiences that shaped him, the narrative presents a candid exploration of personal and societal failures, ultimately leading to a reckoning with his choices. Through its layered characterizations, "Tropic of Capricorn" invites readers to engage with the intricate interplay of individuality, morality, and the pursuit of fulfillment.
Tropic of Capricorn: Analysis of Major Characters
Author: Henry Miller
First published: 1939
Genre: Novel
Locale: Brooklyn and New York City
Plot: Autobiographical
Time: c. 1900-late 1920's
Henry Miller, the narrator, who tells about his life in mixed order, including long descriptions of events in his childhood. The narration is stream of consciousness and includes philosophical asides. Even as a child, Miller wanted to die. He recalls his childhood and reflects that he has not gained from enlargement of his world as an adult. He sees no sense in struggling against inevitable failure. He has no ambitions, nothing he wishes to do that he could just as well not do. He has no desire to become a useful member of society. He does not believe in doing things just to earn a living; it is better to starve to death or kill someone else. He thinks people work only because they do not know any better. He takes menial jobs, rather than learning a profession, because they keep his mind free. He claims his whole aim in life is to get near to God and that music is the “can opener of the soul.” He links music to sex and is obsessed with women, even though he seems indifferent (at best) to his wife. He lets his wife support him for a while right after getting married. He has had many jobs; he was fired from them because he inspires distrust. He finally needs a job and applies as a messenger for the Cosmodemonic Telegraph Company of North America. He is rejected but reapplies and is given a job as a manager, responsible for hiring and firing messengers. Miller is berated for having too big a heart; he gives things away, using company funds as well as his own possessions. He goes into debt to be able to give things away, and he constantly looks for sources of loans to him that he never intends to repay. He works hard at his job, trying to give jobs to all the people who need them. The vice president of Cosmodemonic suggests that Miller write a Horatio Alger type of book about the messengers. Miller realizes that the book he writes is bad, and everyone says it is, but he is in love with it. He recognizes that he attempted to do too much, to make it a terrific book even though he is not yet capable of such a thing. He sometimes feels compelled to either write or run away; those are the only choices. In the coda, he admits to walking out on his wife and child at the age of thirty. This begins his new life.
Gottlieb Leberecht Müller, who has lost his identity. He is an alter ego of Miller and narrates the interlude near the end of the book. Things he does under this name are regarded as crazy. He plays the piano madly, improvising incredible music.
Lola Niessen, Müller's piano teacher, a woman in her late twenties with a sallow complexion, bilious-looking eyes, warts, and a mustache. She is very hairy, which excites Müller. He loses his virginity to her when he is fifteen years old.
Mara, a woman whom Miller visits in the dance hall in the coda to the book. She is perhaps eighteen years old or perhaps thirty, with a full body, blue-black hair, and a white face. Miller sees her as the embodiment of America.
Valeska, one of Miller's many girlfriends. Miller relates that she committed suicide. She has some black blood and makes people aware of it. Miller hires her as his secretary. She is “promoted” to a job in Havana because the bosses do not want a mulatta in the office. She says she will fight the decision, and Miller says he will quit if they fire her. They make love in his house while his wife is out having an abortion.
Hymie Laubscher, the Jewish Cosmodemonic employee who rejected Miller from employment, though he had no authority to do so. When Miller is made a manager, Laubscher works under him. He participates in Miller's trading of jobs for sex with female applicants. He always seems to have a lot of money, even though he is one of the lowest-paid employees. He is absorbed in his wife's “rotting” ovaries and speaks of the problem every day.
Steve Romero, a “prize bull” Miller keeps around in case of trouble. He is a clean man, inside and out, as Miller describes him, in contrast to Laubscher, who keeps himself immaculate but talks filth incessantly. Romero finds it difficult to lie so has a more difficult time than the others in getting women.
O'Rourke, a company detective. He accompanies Miller on walks at night and insistently tells Miller stories. The stories concern murder, theft, other crimes, love, and human nature.
Kronski, a young Jewish medical student interested in the pathological cases on staff at Cosmodemonic. His wife dies. Even while she was alive, he pursued some of the same women as Miller. He tells Miller that Miller could be something big.
MacGregor, a friend of Miller who is always worried about his penis. He washes it so frequently that it gets red and inflamed, making him worry about it and wash it more. He also worries about dandruff and his cough. He picks up women in bars with Miller. MacGregor is always trying to improve his mind. Miller likes him because of all of his idiosyncrasies, which are like those of his childhood friends. MacGregor berates Miller for trying to be independent; he thinks it important to have a network of friends. MacGregor was the one who introduced Miller to his wife. He does not understand how a man can stay attached to one woman, even if he womanizes. He recommends that Miller run away.
Maxie Schnadig, another friend of Miller. He has an attractive sister, Rita, and a deranged brother. Miller visits them only for amusement; Schnadig thinks Miller is genuinely concerned about the brother. Miller finds Schnadig boring. He tolerates him only because Schnadig loans money readily and buys Miller things he needs.
Curley, a seventeen-year-old whom Miller has known for about three years and whom he gave a job as a messenger. Miller likes Curley because Curley has no morals or shame. He lives in Harlem. His parents, in South America, sent him there to live with an aunt. His aunt seduced him, and he sometimes blackmails her for that; when it is easier, he simply takes money from her. He gets lots of women, including Valeska.
Grover Watrous, a childhood acquaintance of Miller on whom Miller reflects. He is a filthy boy with rotting teeth, a running ear, and a clubfoot. He is a piano prodigy. He reappears later, looking tidy and having given up his boyhood habit of smoking. He has found religion, though he belongs to no particular church. In hindsight, Miller is convinced that Watrous is a great man, though at the time he thought him crazy; Miller considers him great because he realized that the one certainty in life is death and acted on his certainty.