Life for her is difficult because her parents are too busy to show loving compassion.
While Frieda shares Claudia's relative maturity and clear-eyed vision of the confines in which these lower-income black people live, it is Claudia who resents the prevailing image of feminine perfection represented in the In Toni Morrison 's novel The Bluest Eyethe story's narrator, nine-year-old Claudia, is possessed of a rebellious streak that sets her apart from other little girls who inhabit her world, particularly her older sister Frieda and the troubled, abused Pecola Breedlove.
While Frieda shares Claudia's relative maturity and clear-eyed vision of the confines in which these lower-income black people live, it is Claudia who resents the prevailing image of feminine perfection represented in the dolls she is regularly given as presents. As Morrison's story begins, the reader is introduced to the kind of bland, Eurocentric imagery that dominated both children's literature and the marketing that sought to place those images in every American home irrespective of ethnicity: It is green and white.
It has a red door. It is very pretty. Here is the family. Mother, Father, Dick, and Jane live in the green-and-white house. They are very happy.
That image of the ideal American home, with two loving parents, was invariably depicted as white, and it is the prevalence of such imagery that frustrates Claudia. In passages early in The Bluest Eye, Claudia describes her disdain for these white-dominated symbols of human perfection, the blond-haired, blue-eyed dolls that dominated the department store toy shelves.
But I did know that nobody ever asked me what I wanted for Christmas. Frieda and Pecola take the bait, idolizing this Hollywood creation with her blond, curly hair and bright blue eyes.
Claudia, however, rejects the image, noting that "I couldn't join them in their adoration because I hated Shirley. Claudia deeply resented the imagery of Robinson and Temple dancing together because, as she writes, Bojangles was "my friend, my uncle, my daddy, and who ought to have been soft-shoeing it and chuckling with me.
That African Americans were sold by white-dominated industries like the entertainment industry, which marketed a false bill of goods intended to eliminate in the national consciousness the notion of positive black contributions to society, eats away at Claudia's soul.
Even she, though, can't muster the strength necessary to rectify these social injustices.In The Bluest Eye, Pecola Breedlove's father rapes her. When Pecola's baby dies, she goes mad. When Pecola's baby dies, she goes mad.
The Bluest Eye Study Guide SparkNotes: The Bluest Eye Home → SparkNotes → Literature Study Guides → Bluest Eye The Bluest Eye Toni Morrison Table of Contents SparkNotes: The Bluest Eye Plot Overview Summary & Analysis Prologue. Character Analysis Pecola Breedlove is a young girl growing up black and poor in the early s. She is repeatedly called "ugly" by nearly everyone in her life, from the mean kids at school to her own mother. Why should you care about what Pecola Breedlove says in Toni Morrison's The Bluest Eye? Don't worry, we're here to tell you.
Pecola spends the rest of her days speaking to her imaginary friend about her blue eyes, which were given to her by Soaphead Church. Character Analysis Pecola Breedlove is a young girl growing up black and poor in the early s.
She is repeatedly called "ugly" by nearly everyone in her life, from the mean kids at school to her own mother. Morrison also addresses many destructive American mythologies, perhaps most powerfully the romantic mythology and the beauty mythology alluded to in her title The Bluest Eye.
Breedlove is destroyed, in part, by the romantic myth. ANALYSIS. The Bluest Eye () Toni Morrison () “Shoemakers’ children go barefoot, we are told. And physicians must be reminded to heal themselves. As if she were a musician, Morrison connects Pecola Breedlove’s desire for the bluest eyes to Mrs.
Claudia senses that what happens to Pecola has happened on a symbolic level to all the African American children of her community.
In this, her perceptiveness is sharp. Cholly Breedlove. Morrison is careful not to portray a simple villain in Cholly. Cholly abuses Pecola in the most dramatically obscene way possible — and never once does Pecola fight back.
She might have yelled back at the boys who tormented her after school the way Frieda did; she might have thrown her money at Mr. Yacobowski when he refused to touch her hand; she might have started a fight with Maureen when Maureen began questioning her about her father's nakedness.