This section, being the last, had the most advances in my musings and things that I noticed about the story itself, some of the themes and symbols, and the social commentary. A new theme that presented itself was simply stated in the author's own words, which was super lucky for me ( :] ), a few themes have popped up this way throughout the entirety of the novel. The style of this novel is strange because even in the very last section that I divided up, the reader still is being introduced to some pretty important characters; take, for example, Soaphead Church: he is the one who "gives" Pecola her "blue"eyes, which I am sure are not really blue but more just along the lines that she believes that they are. Soaphead used to be, ironically enough, a man of the church or more simply, just a wandering preacher who belonged to no one church specifically. This is ironic because he has a pedophiliac fascination for little girls, which goes against all biblical teachings. A reader of Toni Morrison novels can tell that Soaphead is a fairly important character because he is given a metaphoric description of his eyes; he is said to be "cinnamon-eyed." When Pecola comes to Soaphead to ask for him to create a miracle, He is baffled that all this little, ugly, black child wants is for the beauty of a white child's eye.
This equation comes up frequently in the novel, but I never really payed much attention to it before and I don't really know why: that anything related to the white race is beautiful and anything dealing with the black race is ostensibly ugly. Strangely enough, as I knowingly digress (though there is really no set bit of organization to these thoughts), Pecola was never given her metaphoric eye description until the very last pages of the novel, which I find a bit off putting. Also, throughout the novel, there are references to plants and gardening which also coincides with a summary-like story told on pages five and six (that I have dubbed thus since there are no numbers on these pages). I also stumbled upon a theme statement on names that Morrison wrote in the text that reminded me a bit of Shakespeare's Romeo and Juliet. Theme, symbol, motif: originally, I thought that eyes could only be one of the three, but now I realize that it is really all three at once. In the very last two chapters, there is some feminist theory ideas that begin to surface, which I understand as just more social commentary. "Little by little we began to piece together a story together, a secret, terrible, awful story. And it was only after two or three such vaguely overheard conversations that we realized that the story was about Pecola." When I read these lines my mind thought first of pages five and six, and then, what my annotation became (in reference to those pages), like seeds spreading on the wind, the story also spread. Toni Morrison's last chapter in any one of her books is always my favorite of the whole book simply because they are the most profound of the whole novel and I can analyze it for pretty much anything and my thoughts for this last chapter are too numerous for this blog. Sorry, maybe another day. . .
This equation comes up frequently in the novel, but I never really payed much attention to it before and I don't really know why: that anything related to the white race is beautiful and anything dealing with the black race is ostensibly ugly. Strangely enough, as I knowingly digress (though there is really no set bit of organization to these thoughts), Pecola was never given her metaphoric eye description until the very last pages of the novel, which I find a bit off putting. Also, throughout the novel, there are references to plants and gardening which also coincides with a summary-like story told on pages five and six (that I have dubbed thus since there are no numbers on these pages). I also stumbled upon a theme statement on names that Morrison wrote in the text that reminded me a bit of Shakespeare's Romeo and Juliet. Theme, symbol, motif: originally, I thought that eyes could only be one of the three, but now I realize that it is really all three at once. In the very last two chapters, there is some feminist theory ideas that begin to surface, which I understand as just more social commentary. "Little by little we began to piece together a story together, a secret, terrible, awful story. And it was only after two or three such vaguely overheard conversations that we realized that the story was about Pecola." When I read these lines my mind thought first of pages five and six, and then, what my annotation became (in reference to those pages), like seeds spreading on the wind, the story also spread. Toni Morrison's last chapter in any one of her books is always my favorite of the whole book simply because they are the most profound of the whole novel and I can analyze it for pretty much anything and my thoughts for this last chapter are too numerous for this blog. Sorry, maybe another day. . .