In The Theory of Flight, objects associated with flight—such as wings, birds, and eggs—represent characters’ individual aspirations, which can bolster or damage their relationships with others. The novel’s prologue mentions that a woman named Genie, immediately after her death, was witnessed soaring “on a giant pair of silver wings.” The image of a recently deceased person flying skyward activates cultural ideas of heaven as a reward for and consummation of life’s aspirations. Yet the prologue also makes clear that several as-yet-unnamed characters witness Genie’s flight, hinting that her ascension has provoked hope, awe, and belief in the people whose lives she touched: in flying, she has bolstered others’ aspirations.
After the novel introduces wings as a positive symbol, however, it complicates that characterization. Baines Tikiti, Genie’s grandfather, aspired to travel the world, an aspiration symbolized by his obsession with airplanes. This aspiration ultimately motivates Baines’s suicide, because his “wanderlust” leads him to reject and be rejected by his family. The second complication is the story of Golide Gumele, Genie’s father. During the Zimbabwe War of Independence, Golide falls in love with Elizabeth Nyoni, an aspiring country singer who longs to fly to Nashville, Tennessee. Golide wants to support Elizabeth’s aspirations, decides to build her wings, and shoots down a passenger plane so he can salvage its parts and use them to teach himself and his allies how to build planes. As Golide shoots down the plane, he has a vision of Elizabeth hatching their daughter Genie from a golden egg; this vision implies that Golide’s decision to help others fly (literally and figuratively) has made new life and a larger community possible. Yet by shooting down a plane, Golide also kills several people, including the young biracial sons of white heiress Beatrice Beit-Beauford, whom the colonial government is legally persecuting for giving money to freedom fighters like Golide. Thus, Baines’s and Golide’s stories show how aspirations can damage either the person who has them or the people around that person. The novel then returns to Genie’s story, narrating how her desire to die on her own terms at first distresses but ultimately unites and inspires the people who love her. Thus, the novel’s symbolism of flight (wings, birds, and eggs) insists on the importance of individual aspirations while showing the positive and negative impacts such aspirations can have on relationships.
Wings, Birds, and Eggs Quotes in The Theory of Flight
Golide knew that building airplanes was a costly business—that being capable of flight would come at a price. Parts either had to be bought or manufactured, people had to be educated and trained and the state’s monopoly on manufacturing had to be destroyed and decentralized. These obstacles made Golide spend most of his time thinking of ways to make the people understand that they were still capable of flight, and at no cost to themselves.
Bhekithemba did not believe in love, at least not in romantic love. He understood the love one had for one’s parents and one’s country—but that sort of love was born of respect and gratitude. It was a sort of giving back. There was a reason for that kind of love. It was only natural to love the things that had given you life, a sense of place, a feeling of belonging, a connection to things beyond yourself. You could not exist without those things and so of course you loved them. It was a selfish love: a love of self-preservation. Selfish love was understandable . . . reasonable. But romantic love had no reason.
The man told Bhekithemba how he had come up with his theory of flight on September 3, 1978, as he watched elephants swim across the Zambezi River. What had made the first elephant cross was that it could see the other bank of the river—the elephant would not have swum into the ocean, of this the man was certain. What made the other elephants follow was the successful passage of the first. The man wanted people to know that they were capable of flight, and at first he had erroneously thought that they would realize this if he taught them how to build airplanes. After watching the elephants, he understood that what was needed was merely his own belief in flight. If people saw him build a giant pair of silver wings, then they too would believe that they could fly.
“You understand that in the grander scheme of things you are but a speck . . . a tiny speck , , , and that that is enough. There is freedom, beauty even, in that kind of knowledge . . . and it is the kind of knowledge that finally quiets you. It is the kind of knowledge that allows you to fly.”
Funny that during her final moments her thoughts and concerns should be so domestic.
After a lifetime of believing she was in flight, of believing that she was something spectacular in the sky, had she rather been a hybrid thing—something rooted but free to fly? Could such a hybrid thing even exist?
“You cannot break me. You see, I know for certain that my parents were capable of flight.”
Genie chooses this particular moment, with the survivors as her witnesses, to fly away on a giant pair of silver wings . . . and leave her heart behind to calcify into the most precious and beautiful something that the world has ever seen.
As the survivors watch her ascend she experiences love as the release of a promise long held.