The Lesson Style and Technique
The theme of the story is reinforced by several aspects of style that make it delightful instead of didactic or preachy, despite the fact that its central message calls for a revolution in attitudes and actions by both individuals and social institutions. Because the story focuses on the children, readers see how social and economic disadvantages are perpetuated and have lasting effects on future generations. Most important is the use of Sylvia as the narrator, because of her attitudes and her language. Sylvia has developed a smart-aleck, tough, self-centered stance to survive in the slum area. She is quick to think up or be involved with mischief, such as the time she accepts a dare to run into a Catholic church and do a tap dance at the altar. When she enters the church, however, with “everything so hushed and holy and the candles and the bowin and the handkerchiefs on all the drooping heads,” she cannot go through with the plan. She has a sense of rightness, which she believes she is above or does not need, but her sense of decency and fairness is a major part of her character. Although she initially brags that she is keeping the money from the taxi fare, by the end of the story she is not eager to go with Sugar to spend it. The fact that Miss Moore does not ask Sylvia for the change suggests that Miss Moore trusts that what Sylvia is learning is more important than a few dollars.
The most noticeable and significant aspect of style in “The Lesson” is its use of language. Sylvia’s speech patterns are lively and colorful, such as her comment when Miss Moore suggests she check the cost of a real yacht, that such an assignment “really pains my ass.” Her way of talking is realistic for someone who lives where she does. Her slang and wit show her to be a bright, observant, believable, and interesting character, someone the reader can like and care about. By the end of the story, it is clear that Sylvia is realizing that there is more to the world than her neighborhood, and that she will have to develop new knowledge and new strategies for dealing with that world, including, probably, learning more formal patterns of English used by people outside her immediate environment.
The Lesson Bibliography
Alwes, Derek. “The Burden of Liberty: Choice in Toni Morrison’s Jazz and Toni Cade Bambara’s The Salt Eaters.” African American Review 30, no. 3 (Fall, 1996): 353-365.
Bone, Martyn. “Capitalist Abstraction and the Body Politics of Place in Toni Cade Bambara’s Those Bones Are Not My Child.” Journal of American Studies 37, no. 2 (August, 2003): 229-246.
Butler-Evans, Elliott. Race, Gender, and Desire: Narrative Strategies in the Fiction of Toni Cade Bambara, Toni Morrison, and Alice Walker. Philadelphia: Temple University Press, 1989.
Collins, Janelle. “Generating Power: Fission, Fusion, and Post Modern Politics in Bambara’s The Salt Eaters.” MELUS 21, no. 2 (Summer, 1996): 35-47.
Heller, Janet Ruth. “Toni Cade Bambara’s Use of African American Vernacular English in ’The Lesson.’” Style 37, no. 3 (Fall, 2003): 279-293.
Kelley, Margot A. “’Damballah Is the First Law of Thermodynamics’: Modes of Access to Toni Cade Bambara’s The Salt Eaters.” African American Review 27, no. 3 (Fall, 1993): 479-493.
Muther, Elizabeth. “Bambara’s Feisty Girls: Resistance Narratives in Gorilla, My Love.” African American Review 36, no. 3 (Fall, 2002): 447-459.