The narrator describes the women's gossip as a kind of beautiful dance, one that little girls cannot fully understand. Her dismemberment of the dolls can be read in two ways: first, Claudia is frustrated by the society that cherishes pink skin and blue eyes and thus can never consider her, a black girl, to be truly beautiful. There is also a second addition to the MacTeer household, Pecola Breedlove. MacTeer into a rage against Miss. Morrison, in a sense, is speeding up the machinery of the Dick and Jane story to show how it does not work, how it degenerates into meaninglessness under any kind of scrutiny. Claudia fondly remembers those few days that Pecola stayed with them because she and her sister, Frieda, didn't fight.
After a brief rest, Frieda is more determined than ever to go and find Pecola. The soil which we know will not be fertile enough for the marigolds to grow represents the hostile conditions that have conspired against Pecola. When Claudia reaches out for it, Mr. The final words of the section are about the small coal stove, which is unreliable at all times except the morningwhen the fire always, without fail, dies. The black women in the novel wanted to have beauty, innocence, purity, and goodness. But the reader knows from the prelude that the flowers never bloom.
Just as their family name is ironic they do the opposite of their name , the few household objects they do possess—a ripped couch, a cold stove—are symbolic of suffering and degradation rather than of home. The exchange illustrates Morrison's preoccupation with black oral traditions and their translation into literary language: important information is revealed in this scene and the rhythm and beauty of the language show how women's gossip can become a mode of narrative in its own right. The second section is a short passage narrated by Claudia MacTeer. This metaphor calls attention to the importance of nurture and environment for these young girls, especially in these formative years of their childhood. Pecola is obviously unloved, as indicated by her question at the end of the section.
But the eyes, the narrator maintains, are everything, and so the disappearance is the failure. The truly horrifying thing was the transference of the same impulse to little white girls. Claudia felt comfort in her own skin and did not conform to the white vision of beauty that everyone else accepted. When Cholly tried to return it, the deliveryman man refused. We also learn that after the first time, Pecola told Mrs. When Frieda says she can, Pecola asks how.
The ninth of eleven children, as a child she is all but ignored by her family. Soaphead Church proceeds to write a letter to God, in which he blames God for making the world badly. Both the act of destroying the dolls and the exploratory work of the novel are forms of inquiry, and the dissection of the dolls suggests that here learning and experience will come about partly through violence. All three are past their prime and hate men with a vengeance. The narrative then moves to the current story-line. This chapter also makes a point that the novel continually reinforces: giving life meaning is an essential, universal, and relentless human activity. Pecola's obsession with blue eyes, the discussion of ugliness, and the passage narrating her trip to buy candy all deal with a relationship between beauty, ugliness, and hatred.
Cholly refuses to give her money for better clothes, so she takes work housekeeping. Her mother has not taken care to prepare her, in sharp contrast to Mrs. Frieda says you have to get someone to love you. MacTeer is angry because Pecola has drunk three quarts of milk. She begins to become more religious, solidifying her identity as a martyr. In bed, Claudia feels guilty about her illness. Her father has impregnated her, twisting the normal growth of the family tree back on itself.
Henry, the MacTeers also get another houseguest — young Pecola Breedlove. Breedlove at the house where Mrs. She asks what she has to do to have one, and Frieda tells her that somebody has to love her. When Pecola eats the candy, the moment is described like the Christian eucharist: the passage says that to eat the candy is to eat Mary Jane like eating the body of Christ , a transformative act that somehow brings Pecola in her own mind one step closer to being Mary Jane. There is some talk among the grown ups about what's going on at Zick's Coal Company and they pick up coal pieces at night along the railroad tracks. Before it was abandoned, the storefront housed a pizza parlor, and before that, a Hungarian bakery, and before that, a Gypsy family. The conversation turns to puberty and then Maureen asks if Pecola has ever seen a naked man.
But the space was not always perceived this way. As they help her pin a pad to her dress to tamp the bleeding, Claudia notices Rosemary, the white girl who lives next door, watching them through the bushes. She then tells the girls that they can wait with her until Pecola is back, offering them pop to drink while they wait. She has always encouraged her son to play with white children. Breedlove uses her ugliness as part her self-conception of herself as a martyr, Sammy uses his as a weapon, and Pecola tries to hide behind it. Implicitly, the girls will come to understand the movements and rituals of this dance as they grow to womanhood. His desire to poison the animal stems solely from his own hatred of the beast, and his racial self-loathing prevents him from offering any sound counsel to Pecola.
Pauline describes the first steady job she landed, working as a housekeeper for an ungenerous and pretentious white family. What voices and points of view are used, and how do they affect our understanding of the story? Henry comes to stay with them that August. Now, with the flowers and the baby dead, only Pecola and the barren earth are left. There is a pretty house, Mother, Father, Dick, Jane, a cat, a dog, and, at the end, a friend for Jane to play with. The Breedlove's apartment is most often referred to not as the Breedlove's home, but as the Breedlove's storefront, reminding us of the type of building it was meant to be and the comfortable home that it can't be.
Breedlove fussing over the little white girl, who is crying. Although Frieda and Claudia attempt to make a difference, there is nothing they can do to make their flowers grow. MacTeer comes outside and attacks the girls with a switch. Geraldine has explained to her son that there is a difference between colored people and niggers, and that their family belongs to the first category. Claudia is fiercely jealous of the little white girls who draw affection and admiration from black adults more readily than any black girl can. Henry delights the girls by comparing them to starlets who are white. Analysis: The beginning of the section describes a certain class of black women and also alludes to the phenomenon of black migration from Southern town to places like Lorain.