Before he arrives, Claudia and Frieda listen to their mother gossip with her friends about Miss Delia, the woman who Mr. The three girls are outside when Pecola realizes she is bleeding between her legs. Just as their family name is ironic they do the opposite of their name , the few household objects they do possess—a ripped couch, a cold stove—are symbolic of suffering and degradation rather than of home. How is Pecola regarded at school? The absence of love is an important theme of the novel. She has always encouraged her son to play with white children. We also learn that after the first time, Pecola told Mrs. Though bought new, the couch has a split down the middle, and the store refuses to take it back.
Pecola is obviously unloved, as indicated by her question at the end of the section. The MacTeers have their own small house, and the family is poor but loving. MacTeer as women, whereas Claudia and Frieda are still girls. She leads the girls inside, and takes Pecola to the bathroom to talk with her and help her to get cleaned up. MacTeer figures out what has happened.
Summary and Analysis of Spring First-person narrative by Claudia MacTeer. Pecola asks how to go about getting love. She asks what she has to do to have one, and Frieda tells her that somebody has to love her. Morrison also manages to humanize Marie the Maginot Line without sugar-coating her. MacTeer and sitting bored on the steps when Pecola begins bleeding from between her legs. Henry comes to stay with them that August.
There is also a second addition to the MacTeer household, Pecola Breedlove. The space is cold and alien: there are no fond memories connected to its physical parts. Henry nibbling on the fingers of China and the Maginot Line Marie. Not only does she destroy the Caucasian dolls given to her as presents, but she also fantasizes about attacking living white girls. This section contains 925 words approx. The description shifts quickly from the general to the specific, focusing on a woman named Geraldine.
The second time the same story appears without any punctuation or capitalization, but with a space between each of the words. The fact that he couldn't return the couch constantly reminds Cholly of his own powerlessness as a black man. Her father has impregnated her, twisting the normal growth of the family tree back on itself. The house is pretty, the mother is gracious, the father big, strong, and kind: the story stands in sharp contrast to Pecola's life. The house is ugly and dilapidated, actually designed to be a store, and it passed through many hands after the Breedloves gypsies, real estate office, Hungarian baker, pizza parlor , before the building was finally abandoned.
The coal stove seems to have a mind of its own; its heat is unpredictable. That night, while the girls lie in bed, Pecola is awestruck because she has been told that the bleeding means she is now able to have a baby. Pecola is about to use a wagon to bring the wash back to the Breedlove storefront, and Mrs. Frieda sends Claudia inside to get a glass of water to clean the blood from the steps. Pecola is obviously unloved, as indicated by her question at the end of the section.
Claudia and Frieda feel terrible sorrow for Pecola, all the more so because no one else does. Pecola asks Frieda if her menstruation means she can have a baby now. She recalls getting a white doll for Christmas one year and resenting it. The narrator says that it was as if some mysterious master had given them a cloak of ugliness and they had all accepted. Her mother scolds her harshly and complains about having to clean up her vomit, but at the same time makes sure that Claudia is in bed, gives Claudia medicine, and checks up on her throughout the night. Junior comes back in because he can no longer hear Pecola crying.
She finishes with the image of the barren soil and the impossibility of growth. Geraldine and her family have fully internalized the white standard of beauty, and live their lives aspiring for bourgeois respectability. By making the penny disappear, Mr. This process depicts the way black hatred of white cultural oppression and beauty standards can result in black obsession with white culture. She becomes sole breadwinner while Sammy and Pecola are still young. When the little white girl asks Mrs.
The narrator begins moving back in time, explaining that the storefront was once a pizza shop where teenage boys used to hang out and smoke cigarettes. She buys Mary Jane candies from a white shopkeeper who has little patience and less affection for her, and the mechanics of the gaze in this passage are very important for understanding the novel. MacTeer sees the pad, and allows the girls a moment to explain that they were trying to help Pecola, she feels sorry for what she's done. When her own body begins to change, she can only fear it. Henry arrives, the girls are not introduced to him, but pointed out by their mother along with the furniture and rooms of the house. Second, her dissection of the dolls is strangely scientific.
Claudia naïvely assumes that the beauty others see in the doll must inhere physically inside it, and so she takes apart the doll to search for its beauty. Once Claudia's desire to destroy the dolls results in the urge to harm white girls, she feels immense guilt. She does nothing, but instead has things happen to her. This makes the contrast between the idealized world of the Dick and Jane story and Pecola's life explicit and readily apparent. Pecola, however, who has been called ugly so many times — even by her own family — cannot.