The space is cold and alien: there are no fond memories connected to its physical parts. We thought, at the time, that it was because Pecola was having her father's baby that the marigolds did not grow. Of course, Pecola's realization that society defines ideal beauty in a figure completely opposite from the one she sees in the mirror every day also contributes to her initiation into adulthood. M'Dear A respected midwife, she is known for her knowledge of herbal medicine. The day before he is to leave with the uncle appointed to be his guardian, Cholly leaves for Macon in search of his father who, when Cholly finds him, spurns him in favor of a game of craps. Henry is charming but is somewhat lecheroushe invites prostitutes under the MacTeer roof when the MacTeers are gone, and later he makes sexual advances at eleven-year-old Frieda. Her mother takes refuge in the aspects of white people and believes that Christianity will solve her problems.
Their failures and accomplishments are transferred to their children and to future generations. On an unseasonably warm day, Maureen happens to choose to walk with Claudia and Frieda part of the way home. Claudia hates Shirley Temple and cannot understand the fascination blacks have for little white girls. They realize that they must create their own self-worth in this world of beauty to which they don't belong. Her poverty kept us generous.
Frieda MacTeer Claudia's older sister, about ten years old. This type of dirty, poorly dressed black is exactly what Geraldine despises most. He and the girl are discovered by a group of white men who force him to repeat the act for their entertainment. If the animal eats the meat and behaves strangely, her wish will be granted. She leads the girls inside, and takes Pecola to the bathroom to talk with her and help her to get cleaned up. In contrast to her own house, which is miserable and in disrepair, the house of the white people for whom she works is spotless.
The narration shifts again, this time to Cholly's story. Henry illustrates the girls' deep loyalty and respect for their motherit is Mrs. The desire for blue eyes is evidence of Pecola's dissatisfaction with her identity, with her world, and of her longing for something better, which, at twelve years old, she has no way of providing for herself. On the balcony above the door, Marie the Maginot Line is having a drink of root-beer. One day, her son Junior lures Pecola into the house and then throws the cat at her. Led by Frieda, the MacTeer sisters stand up to the boys and get them to leave Pecola alone.
The section entitled Summer is the shortest section of the book and does not present gleeful children reveling in the pleasures of summer but an isolated, insane Pecola. Breedlove are not very happy in their storefront apartment or in their relationship to each other. Pecola can read in his eyes the impatience and disdain that he feels for her, and she internalizes all of it. The places where Pecola and Frieda sell their flowers are homes where people live in extreme poverty, and that offers some explanation for their lack of sorrow: in a time and place when people are barely scraping by, and in a world threatened by the Axis powers, people have little worry left to expend on a little girl. Interspersed in the third person narration are sections of Pauline's voice in first person.
Pecola's only refuge from her life is with the three prostitutes who live upstairs and who treat her with affection, the only people who do so. The questions are clearly making Pecola uncomfortable, and Claudia and Frieda try to get Maureen to stop. The book details his sexual preferences for young girls as well as his family background, former professions, and failed marriage. The novel consistently brings up common white women of the generation such as Shirley Temples. Henry, and Pecola Breedlove, a temporary foster child who likes Shirley Temple. Source: Diane Henningfeld, in an essay for Novels for Students, Gale 1997. Hanging out of windows over saloons in Mobile.
Not only is her mother distant and aloof, but Pecola's father is also unreliable for any comfort or support. We return to the first-person narrative of Claudia for the close of the novel. Frieda and Claudia go home, where their boarder, , greets them and gives them money to go buy ice cream. All of the main characters have internal conflicts that affect the other. An inquisitive, sensitive young girl growing up in Lorain, Ohio, Claudia is the product of a loving family. Invited into house after house, listening in on the conversations of adults, they piece together what has happened to Pecola. The book opens with three excerpts from the Dick and Jane reader, which was the textbook used to teach every child to read from the 1940s through the 1960s.
When the little white girl asks Mrs. Pecola's mother, Pauline, is cruel to her family because they are a constant reminder that her life can never measure up to the ideal world of the white family for which she works as a maid. Born and raised in Georgia, Cholly is abandoned by his mother when four days old, and taken in by his Great Aunt Jimmy. So, basically, quite the same as Pecola herself, only a decade later. She begins to pet the animal. Critical attention to The Bluest Eye was also slow in coming.
The narrative structure of The Bluest Eye is important in revealing just how pervasive and destructive social racism is. Claudine rejects these standards, despises white children and dismembers a white doll she receives as a gift. The four girls then walk together, and initially Maureen is very friendly to Pecola, talking about movies with her and treating her to ice cream. Her family lives in a converted storefront. Claudia MacTeer the first-person narrator of the first section in each of the four units.
The clear structure of the storybook world is wrecked as Pecola's life is wrecked. The cat is the object of her greatest affection, a clean and quiet animal that leaves no messes. After a moment, Pecola asks how she can get someone 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. Sentences from the Reader introduce this story, indicating their inner confusion and general desolation.