Toni Morrison Long Fiction Analysis
In all of her fiction, Toni Morrison explores the conflict between society and the individual. She shows how the individual who defies social pressures can forge a self by drawing on the resources of the natural world, on a sense of continuity within the family and within the history of a people, and on dreams and other unaccountable sources of psychic power. Many of her works also confront some sort of sexual depravity that has become a controlling influence on the lives of the characters.
In The Bluest Eye, Morrison shows how society inflicts on its members an inappropriate standard of beauty and worth, a standard that mandates that to be loved one must meet the absolute “white” standard of blond hair and blue eyes. Morrison’s narrator says that two of the most destructive ideas in history are the idea of romantic love (canceling both lust and caring) and the idea of an absolute, univocal standard of beauty.
In the novel, the most extreme victim of these destructive ideas is Pecola, a young African American girl who finds refuge in madness after she has been thoroughly convinced of her own ugliness (confirmed when she is raped by her own father, Cholly). Mrs. Breedlove, Pecola’s mother, is another victim who gets her idea of an unvarying standard of beauty from romantic motion pictures that glorify white film stars. When she realizes the impassable gap between that ideal and her physical self (she has a deformed foot and two missing teeth), she also gives up any hope of maintaining a relationship with Cholly, her husband, except one of complete antagonism and opposition. Mrs. Breedlove even comes to prefer the little white girl she takes care of at work to her own daughter, Pecola, whom she has always perceived as ugly.
The ideal of unattainable physical beauty is reinforced by the sugary, unattainable world of the family depicted in school readers—of Mother and Father and Dick and Jane and their middle-class, suburban existence. The contrast between that false standard of life and the reality lived by the African American children in the novel makes them ashamed of their reality, of the physical intimacy of families in which the children have seen their fathers naked.
Although Pecola is thoroughly victimized, Freida and Claudia MacTeer, schoolmates of Pecola, do survive with some integrity and richness. Freida seems to accept Shirley Temple as the ideal of cuteness, but her sister Claudia, a center of consciousness in the novel, responds with anger and defiance, dismembering the hard, cold, smirking baby dolls she receives at Christmas. What Claudia really desires at Christmas is simply an experience of family closeness in the kitchen, an experience of flowers, fruit, and music, of security.
Claudia’s anger at the white baby dolls springs from a conviction of her own reality and her own worth. In defense of her own individuality, Claudia rejects Shirley Temple and “Meringue Pie,” the “high yellow” princess, Maureen Peal. It is that defense of her own reality that makes Claudia sympathize with Pecola and try to defend her, even to the point of sacrificing Freida’s money and her own.
Claudia is especially puzzled and regretful that nobody says “poor baby” to the raped Pecola, that nobody wants to welcome her unborn baby into the world. It would be only natural, “human nature,” it seems, for people to sympathize with a victim and rejoice at the creation of a human life. Instead, the springs of human sympathy have been dammed up by social disapproval. Suffering from the self-hatred they have absorbed from the society around them, the members of the black community maintain inflexible social standards and achieve respectability by looking down on Pecola. The two MacTeer sisters appeal to nature to help Pecola and her unborn baby, but nature fails them just as prayer did: No marigolds sprout and grow that year. The earth is unyielding. The baby is stillborn. Eventually, even the two girls...
(The entire section is 5,883 words.)