In other scenes, it creates the feel of a pattern. When Maureen turns out to be stringing her along only to accuse her of premature sexual knowledge in seeing her father naked, Pecola does stand up for herself. Pecola is glad to see them. It is assumed that ideology needs time to work, and it has not fully taken Claudia in by the time she witnesses what happens to Pecola. In this, her perceptiveness is sharp.
Certain seeds it will not nurture, certain fruits it will not bear. Pauline gets lost in those movies and even did her hair like that of a white actress, to make herself feel prettier. While it is true that the child was conceived in the most dreadful way, the complete disregard the community has for its own is softened by the kindness of the sisters who are still untouched by this deep, relentless and cyclical hatred of all that is black or, more specifically, all that is not white, clean or sanitary. When she gets her period, she is shocked. Her conversation with Maureen reveals her love of the cinema, a love presumably learned from her mother, and her admiration of European-American film stars. Pecola has a very hard life and at the age of eleven, she gets raped by her father, which results in a pregnancy.
The MacTeer family goes through their own small dramas, as Frieda and Claudia deal with stuck-up schoolmates and a lecherous boarder. The novel also set up many of the issues with which Morrison has been concerned ever since. They do not fear the symbolic meaning of Pecola's baby, because they are not burdened by racial self-hatred and self-perceived ugliness, and have nothing to hide. Through her childish rejection and common sense inquiry into the beauty of something that is only such because people say it is, Morrison is able to probe the theme of notions of whiteness being more desirable early in the novel and, because of her narrator, in a simple and symbolic manner. They laugh at the pair and force them to continue having sex while they watch and laugh.
As her parents fight, she concentrates all her imaginative energy on disappearing, and can succeed in imagining all her body dissipated except for her tightly sealed eyelids. She is on a hunt to become beautiful. Morrison unpacks the metaphor throughout the book, and, through Claudia, finally explains it and broadens its scope to all African-Americans on the last page. At first, he feels tenderness and hatred fueled by guilt. She later develops an intense desire for blue eyes to compensate for her perceived ugliness. Claudia wants to cry thinking of Frieda so fat and heavy. Claudia MacTeer Morrison uses Claudia as a narrator only sporadically in the novel.
As they walk, the houses get better and better and the sky becomes bluer, being further from the smog of the factory. . Morrison points about how the atrocity of growing older is that children lose this capacity to separate images from larger ideals and standards and thus demonstrates how while Pecola is an extreme case, she is a representation of an entire culture of African-Americans who have been mislead by the cultivated notion of white superiority long after slavery and as a result, forced to look beyond their own lives for fulfillment. At the same time, Claudia's belief that the birth of a black baby will create a change in the way the community worships white beauty and hates blackness is innocent, naïve, and perhaps desperate. The Breedloves are poor, unhappy, and troubled. The reader hears nothing more of Cholly except that he left, and perhaps before he left, he raped his daughter a second time, and then that he died in a work camp.
Morrison does not solve these problems, nor does she even try, but she does show a reflection of a world that cannot call itself right or moral. Pauline's destructive marriage drives her to the movies and the clean, ordered world of her employer's home. Pecola doesn't realize that Soaphead hates the dog and has given her poison to feed to it. In his befuddled state, he collapses his image of mother and daughter, he desires to protect and cherish her, and, at the same time, he cannot control his sexual desire for her. Morrison writes long stretches of beautiful and uninterrupted dialogue, with great sensitivity to oral language. This type of organization suggests that the events described in The Bluest Eye have occurred before, and will occur again.
The community rejects the beauty of its own children, encouraging them to recognize the beauty standard of the dominant media--the Shirley Temple blonde and blue-eyed privileged image--as the only kind of beauty. She also learned that love is a possessive, individualistic, and private emotion, divorced from sexual pleasure and simple caring. Claudia views the blue eyes partnership with beauty, with hostility. She had gone out to the garden and told her parents. Pecola passes some dandelions going into Mr. This fantasy was evoked by the songs sung in her church depicting Christ as a sort of lover who leads the lost and lonely to wholeness and happiness.
Morrison began Pecola's story as a short piece in1962; it became a novel-in-progress by 1965. Is there a way out? We also learn about Cholly, who is abandoned by his mother near train tracks when he is four days old. Her portraiture of Cholly, however, is not a central concern in the novel. The allusion to The Dick and Jane narrative shows us the happy, white and middle class world. She completes the task, which she believes will be like a transformative spell. The community disowns her, and from then on she lives isolated in her own world. They bury the money they'd been saving for their bicycle by Pecola's house and plant marigold seeds in their back yard.
The effect is like speeding up film of a slow process? Claudia and Frieda befriend the girl, who is lonely, abused, and neglected. The is split into an untitled prelude and four large units, each named after a season. Therefore, it is done in too hasty a manner. Their rejection by mothers damages their sense of self more deeply. Pecola eventually achieves her escape with a total dissociation from reality. Claudia and Frieda, for example, plant marigolds in an attempt to bestow health on Pecola's unborn child.
Soaphead Church Though a minor character, Soaphead Church deserves some analysis here since he is the catalyst for the final outcome of the plot. The title uses the superlative of blue because at the end of the novel, when Pecola has gone mad, she is obsessed with having the bluest eyes of anyone living. They find that people are disgusted, amused, shocked, outraged and even excited by the situation, but none show any compassion for Pecola. And Morrison's concern with oral Black-American traditions is apparent from the very first lines of Claudia's prelude. Pecola is presented always from a third person narrative point of view, either by the omniscient narrator or by the first person narrator, Claudia, until the last chapter of the novel, when she is given voice in a first person dialogue with her imaginary friend. The use of the primer is a biting comment on the distance between Pecola's life and the pink-skinned bourgeois world in the Dick and Jane story. Once, Morrison was describing the many broken and dirty houses that were in the black community.