Toni Morrison’s novel The Bluest Eye examines the consequences of society’s degradation on people. Her story is set in Lorain in the 1940s in Ohio, where there are white ideals of beauty and a common society. Morrison illustrates the negative effects of racist ideas on people who don’t live up. Her authentic style, precise language and ability to connect with her readers make her story stand out. Morrison tells the moving story of a girl who is unable to cope with the society.
The honesty of Morrison’s writings in The Bluest Eye was crucial for the development of society. Morrison’s direct approach in her writing often results in simple sentences. While there are some complex ideas or detailed descriptions, the majority of her sentences are still simple. Morrison writes touchingly in “the simplest, most striking, and most moving prose”(Critical Perspectives 4) Critical perspectives 60. Author pays attention to both the meanings and the cadences. This allows characters to feel despair and oppression through their words, thoughts and actions (Critical perspectives 4). Morrison admits that she has stressed “codes embedded within black culture” in her book (Bloom 3,). Critic perspectives 60 describes how Morrison’s careful attention to the connotations of words and the cadences of language allows the despair and oppression of characters to be evident through their thoughts, words, and behaviors. Claudia is one example of a girl who can protest the white world’s imitation by dismembering white dolls. They cannot “destroy [their] aunts’ honey voices, the obedience in their eyes, and the slippery light [their] teachers when [their] encounters with the Maureenpeals of the globe (Baum 12,). Morrison illustrates this concept in a “strangely similar [yet] uncanny” manner (Modern Critical Views 12). The author refers to a certain person whom readers can easily recall as being admired for doing things that are outside their control. Morrison assumes nearly everyone has heard of a Maureen Peal. She critiques society for unfair treatment of Maureenpeals. She describes relatable parents’ “honey voices” and teachers’ “slippery lights”.
In The Bluest Eye Morrison’s narration, Claudia shows how a young girl like Claudia can see the world and uses that insight to critique society. Claudia’s family is introduced before the novel begins. Her narration reveals her family’s situation, which contrasts sharply with the “Dick and Jane” primer story. Claudia’s family are shown to be cold and unloving. But then, Claudia says that, “And at night, when it was dry and hard, my coughing became worse and I had to get up.” (Morrison 12). Claudia can only describe love at this young age. But it still evokes warmth, family love, and warmth. Morrison calls Claudia’s mother “somebody with hands who doesn’t want [Claudia] death” to express love. This is ultimately the kind of love Mrs MacTeer shows her daughter. Morrison uses a diction to tell Claudia what she thinks Claudia wants. Morrison’s ability identify similarities between her characters, readers, and these words is evident in the way she uses them. Claudia says that her resentment towards white baby dolls stemmed from the fact that she didn’t want any. I preferred to feel something during Christmas. The real question was “Dear Claudia,” where I would have said, “Dear Claudia! What Christmas experience would it be like to have?” (Morrison 21-22). Morrison writes through Claudia’s voice about Claudia’s wishes and is particularly effective at evoking childhood joy. Morrison makes use of the engaging of all the senses to invoke memories in the reader. In turn, the reader is reminded of Claudia.
Morrison uses different voices throughout the novel. However, Morrison writes in a consistent style throughout her work, including her bluntness of tone and her tendency to write simpler sentences. Morrison’s unabashed, bold style of writing is a key characteristic. Pauline Breedlove shares her past stories and describes how she became unhappy. Five months pregnant, I tried to be Jean Harlow. A front tooth was missing. It was all fine. It seems that I didn’t care anymore after that.” (Morrison, 123). Morrison’s speech choice for Pauline is blunt. Pauline is bold when she uses extremes to talk about the consequences of losing her tooth. Morrison’s bold style is also evident when she makes Pauline lose her tooth as the start of her unhappiness. Pauline felt that the best way to help her would be to make a foot case. She did exactly that. The truth is that dreams do die. But one shouldn’t believe every dreamer. Her beautiful beginning ended with a cavity in one her front teeth. Morrison 110. However, she preferred to think about her foot always (Morrison 110). Morrison’s honesty is uncompromising. Morrison’s account of Cholly’s rape and exploitation of Pecola is perhaps the most direct in the novel. Morrison doesn’t use metaphors to confront the reader about Cholly’s rape of Pecola. Morrison’s writings in The Bluest Eye are a testament to her fearlessness as writer. She also shows her authenticity in writing, as evident by her style.
The novel’s unique structure, The Bluest Eye, is greatly influenced by Morrison’s singular execution. It is very fragmented and contains a lot juxtaposition among sections. However, it also features “looping narratives, flashbacks [that] similarly veil/qualify meaning” (Bloom69). The Bluest Eye has an ironic counterpoint structure. The story begins with “Dick and Jane”, a children’s story about a couple. This serves primarily because it contradicts the lives of the MacTeers and Breedloves (Bloom 22,). “Here’s my house.” It is white and green. Here’s the family. Jane, Dick, Mother and Father live in the green-and-white house. They are in high spirits (Morrison 1). This story has sections that are titles. They introduce their counterparts to the racist setting in Lorain, Ohio, in 1940. Dick and Jane’s green and white home introduces Breedlove to their “irritating, melancholy”, storefront apartment. This apartment is no different than the one in the story. Although the father is happy and strong, Cholly Breedlove the bitter alcoholic is the antagonist. Contrast the happy Breedloves with the miserable and poor (Bloom 22). The “Dick and Jane” primer is important because it gives “a specific set of expectations for modes of behaviour” (Critical perspectives 62). Morrison then repeats the same text again, but this time he removes all spaces and punctuation. Morrison does so to “breakup and confuse” the story (Bloom50). The primer story Morrison uses as the first section of The Bluest Eye, effectively juxtaposes the real life of Lorain citizens. The passage directly precedes an italicized paragraph in which Claudia recalls, in retrospect. Claudia recalls in this section that she and Pecola were so concerned about Pecola’s health and safety, they could only imagine their magic. However, Morrison’s goal in the novel is not to dwell on the final causes but rather the process. Morrison demonstrates this motivation by writing, “There really is nothing to say-except why.” Morrison establishes the framework for the story’s structure, as why is hard to understand.
Morrison uses sections to help her deal with the “how”, which is broken up by seasons and the narration of young Claudia. With such a structure, Morrison allows readers to dig deeper into the minds and souls of their characters. Morrison created this novel structure to investigate the domestic and social aggression that can cause a child’s “literally fall apart”. Pecola is confronted with a series (some regular, some extraordinary) of rejections. All the while trying “avoid complicity to the demonization process Pecola was exposed to (Morrison xii). This is what Morrison’s structure does. Morrison addresses the parents of Pecola, describing their early lives and the many demoralizing and dehumanizing events that Pecola was subject to. In a similar vein, Morrison describes how Junior’s mom treated him poorly and explains why she showed more affection as Junior grew older. Morrison does not try to justify Pecola’s neglect, but she does convey to the reader that Pecola’s parents were “no fewer of victims” (Bloom78). Because of the fate of her parents, Pecola was certain to suffer this fate. Pecola was not able to understand, or experience, the love of his father, especially a father. Cholly loved his child, but he was dangerously naive. He could feel any emotion he wanted, including fear, guilt and shame. Cholly was “alone in the world and his own desires and he only cared about them” (Morrison 160). Cholly is asked by his father, immediately before he rapes his child. What’s the matter with her? What do you think? “What would a black man who is beaten down say to the eleven-year old daughter of a woman he loves?” (Morrison 161). Cholly’s life is described and how he became the person he is. Cholly is left to wonder what he can do to help his daughter after years and years of abandonment, humiliation and degradation. Cholly’s social disintegration is evident before the rape. He then struggles to figure out how to treat his daughter, and what he can do to help her (Peterson, 32). Morrison blames the society and people who “trashed” Cholly because he becomes a character for which “no glory” is possible (Critical Perspectives 2). Morrison effectively points out the society that “did the smashing” by structuring his novel so that the reader gets glimpses into the lives early on.
Claudia MacTeer also narrates The Bluest Eye’s fragments. These fragments serve two purposes. They provide a chronological timeline that parallels the fall of Pecola. Additionally, they offer a solid foundation and a fascinating view of the events that occur to Pecola. Pecola’s racist self-contempt is barely visible at the beginning of the story. It is not self-contempt that is being described at this point. It is instead merely seen as the desire and admiration for Shirley Temple. Pecola is acutely aware, however, of her “ugliness.” Pecola can see support for it coming at her from “every film, every billboard” (Critical View 28). Pecola’s belief system in this idea is what continually makes her fall apart throughout the novel. The seasons are not just broken down for time passing and movement. Pecola’s madness descends into sarcasm and violence as the seasons offer sarcastic, brutal commentary (Critical Perspectives 61). Not only is her rape the cause of her collapse, but so does her baby who dies. Pecola’s sadness becomes more obvious with each passing season. You can see evidence of her impending demise even before she is raped. Claudia’s perspective makes her a powerful and necessary element of the novel. Although Pecola’s story seems to be pushed aside by Claudia’s, Claudia’s narration and input are essential and valuable. Pecola was a vulnerable and delicate character. This would have prevented the novel from being structured well. Morrison created Claudia as a character to help Pecola understand the process. Morrison’s brilliant stroke is Claudia’s role as Pecola’s child narrator during Pecola’s Descent into Madness. Pecola clearly doesn’t have enough space, time or distance to fully understand what is happening. Pecola can’t see her own story through the prism of hindsight. Claudia’s narration causes Claudia to become a “grieving vocalist to Pecola’s graveness”(Critical Perspectives 64). The novel’s progression is dependent on the breakdown of its structure into seasons and Claudia’s narration.
The novel can be enhanced and enhanced with many elements of Morrison’s technique from The Bluest Eye. Morrison uses children’s perspectives in The Bluest Eye as a prominent technique. While children may be portrayed as unknowing and naive in some situations, they are always able to express their deepest thoughts and feelings through their comments. Pecola, for example, asks disconcerting questions about their intelligence and naivety. Peterson 22. She asks Frieda, Claudia and Claudia one question: “How do you get someone to love you?” Although it seems silly, the question is actually a fundamental question that many of the characters in the novel are confronted with. Although the children don’t know the answer, they are unaware that the novel gives them a series of excellent answers. Morrison’s unique technique allows her to include small comments made by main characters. While they are kept brief in the narrative, they add much value and help the reader understand the character’s perspective. Pecola says, “Maybe it was love.” Morrison 44: “Chopping sounds and silent” Pecola’s perceptions of love are so distorted or corrupted because of this. Pecola was exposed to her parents love and has learned that “love is always better than the lover”. “Wild people love wickedly, violent persons love violently,” Bloom 72. Pecola’s view of love is probably distorted because she has only had adult love.
The young characters are also naive, as can be seen in Frieda’s and Claudia’s decisions about how to help Pecola. Their seeds don’t grow and they can’t see how “the Earth” might be unyielding. [They] had dug [their] seed in [their] little piece of black soil, much like Pecola’s father did with his seeds. “[Their] innocence, faith and lust were no more productive than their despair or lust” (Morrison 1-2). It is more radical to think that the Earth might be unyielding than that it is simply by chance. The unyielding Earth toward certain seeds further instills the sense of loss and darkness the novel can harbour. Morrison employs a technique that sees youth lose their innocence due to tragic and traumatic events. The technique allows her to point fingers at society through their racism and prejudice for destroying children’s innocence. Morrison has an ideological design on us, her guilty reader, white and black, female and male (Bloom 48). The juxtaposition of the awful things that do eventually happen and the innocent and foolishness of children makes it more effective. Claudia and Frieda are able to come to terms in the face of all that they experience.
“The Bluesteye launches a critical analysis of the perceived norms and beauty of beauty” (Peterson56). The tragic ending of the novel is due to society’s projections of ideals and beauty onto its victims. The novel explores the effects of racial hatred and inferiority on people. Morrison explores the negative effects of racial contempt on Pecola’s most vulnerable character. Morrison also uses Maureen Peal, the “high-yellow dreams child” that “enchanted the whole school,” as a way to contrast Pecola. Maureen is loved and admired by adults and teachers. These are not true facts, but Maureen looks wealthy and together, as well as because she is lighter and wears expensive clothing. Morrison accurately describes Lorain, Ohio’s 1940s society by describing its admiration for Maureen. People like Maureen Peal have it all. They love people who are wealthy and beautiful. But they hate people like Pecola who has nothing and is considered “ugly”. This simple juxtaposition is what carries the theme throughout the novel (Peterson 120).
This theme is more than just society’s influence. The novel’s closing paragraph states that “This soil can kill certain types of flowers.” It won’t grow certain plants, or bear certain fruits. And when it kills by its own will, we accept it and tell the victim that it had no right not to live. Although we may be wrong, it doesn’t mean that we aren’t. It’s already too late” The closing paragraph addresses The Bluest Eye’s core theme. Certain flowers don’t grow in the soil. Pecola’s personal circumstances are a mirror to this. (Critical Perspectives. 92). Her life isn’t conducive to happiness, success, or being just happy. Pecola and the marigolds seeds are not nurtured in the same way the Earth nurtures other flowers. Claudia, who is able to look back at the past and sees how people thought that Pecola’s baby was not worthy of life. Claudia understands that Pecola wasn’t nurtured or treated with fairness by Lorainians. Claudia also knows that Pecola deserved to live. But, it is evident that Pecola won’t be treated the same way by Lorainians ever again. Claudia concludes the paragraph with a despairing tone. Pecola is eventually driven insane by Frieda and Claudia. Frieda and Claudia don’t even see Pecola anymore as their shame and pain are too overwhelming to handle. They have a similar attitude to Pecola’s indifference. Morrison also writes about characters who the Earth won’t nurture like Pauline or Cholly. However, both these characters found their own comforts. Pauline focuses on housekeeping while Cholly turns to alcohol. Pecola’s vulnerability and passive nature as a character makes it possible for her to fall into madness. The Bluest Eye reveals the hostility that nature and the world have toward certain people, as well as their inability to achieve ultimate glory.
Morrison wrote this novel to criticize the society and those who live by certain ideals that are impossible for many. Morrison creates a beautiful and moving portrait of a young girl, through her fragmented structure, simple language, and the disclosure of the naivety, of a victim to society. Morrison describes a young girl who is not accepted in society and gives her a crushingly convincing account.
Works citées
Bloom, Harold. Toni Morrison. Chelsea House, New York, published in 1990. Print.
Henry Louis Gates is the author of this work. Toni Morrison Critical Viewpoints Past and Present. New York: Amistad, 1993. Print.
Morrison, Toni. Toni Morrison’s The Bluest Eye is a novel which tells the story of a young African American girl living in Ohio who desired to have blue eyes as a result of internalized racism. New York’s Knopf publishing house released the work in 2000. Print.
Peterson, Nancy J. Toni Morrison. Critical and theoretical approaches. Baltimore: Johns Hopkins UP, 1997. Print.
