The Prevalence of Tragic Optimism: Through the aforementioned symbol of light and darkness, Baldwin conveys his message of tragic optimism. Tragic optimism is the ability to remain optimistic, even in the face of immense suffering. It’s important to note that Baldwin mentions darkness often, yet only refers to light occasionally. This shows that even in the presence of overwhelming darkness, and profuse amounts of suffering, there is still room for light and hope. Baldwin’s message of tragic optimism in “Sonny’s Blues” is commonplace in his other works, and he is known as one of the mainstream tragic optimists, alongside the likes of Viktor Frankl.
The Obligation Toward Brotherly Love: The entire story revolves around the relationship between the narrator and his brother Sonny. Before the narrator’s mother dies, she bestows him the role of Sonny’s keeper; she tells the narrator to watch over Sonny, and to “let him know that [he’s] there.” Later in the story, Sonny reminds the narrator that although he is clean from drug abuse, his problems are far from over, and the narrator makes a silent promise to himself to always be there for his brother.
Music as a Form of Expression: The theme of music as a form of expression is mainly conveyed through Sonny. Music, and jazz, are described as Sonny’s salvation, and his light in all the darkness. As he starts to play his music again, and finally gets to express his suffering through his music, others are also touched by his music.
The Limited Opportunities for African Americans in Harlem: Through the symbol of the housing projects and the overall descriptions of the setting, Baldwin provided a social commentary on the generational oppression of African Americans, and the limited opportunities that they get as a result of such oppression. The poverty that exists in the community is constantly conveyed, and this connects constantly to feelings of hopelessness and desolation. Even for the youth, the seeds of their future have already been sown, and they are all fated to suffer.
