By Amy Sickels
African-American authors have additional their voices to the yank literary tapestry via riveting works. African-American Writers discusses the validated authors and newly rising voices that experience made lasting contributions to American literature. Maya Angelou, Toni Morrison, Ernest J. Gaines, Walter Dean Myers, Alice Walker, August Wilson, Charles Johnson, and Gloria Naylor are profiled in addition to their fundamental works which are generally assigned in study rooms this present day.
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Extra resources for African-American Writers (Multicultural Voices)
Pecola’s father, Cholly, is a drunk, and her parents fight violently. Pecola’s brother, Sammy, frequently runs away, but Pecola’s only escape is to pray for blue eyes. In her childish naiveté, she believes beauty merits love, and she wants to be as loved as the blond, blue-eyed children she sees in her community and portrayed in popular entertainment. Pecola’s belief that others feel nothing but distaste toward her is confirmed when the white shopkeeper refuses to touch her hand. Every interaction in the novel seems to confirm the view that whiteness is beautiful and that blackness, its opposite, is not.
The Bluest Eye Summary and Analysis The Bluest Eye, set in Lorain, Ohio, at the end of the Great Depression, is the tragic story of Pecola Breedlove, an 11-year-old girl who prays for blue eyes because she thinks they will bring beauty and love to her life. Morrison shifts points of view, allowing different aspects of Pecola’s story to emerge. The principal narrator is Claudia MacTeer, who tells the story as an adult looking back at portions of her childhood years; the other narrator, who is omniscient, describes the other characters in the community.
The reader sympathizes with Cholly because he has suffered, but then Morrison shows him coming home drunk. Seeing his daughter at the sink washing dishes, he rapes her, and Morrison shows the attack, an expression of “hatred mixed with tenderness,” through Cholly’s eyes. Afterward, he covers Pecola with a blanket and leaves her passed out on the kitchen floor. The omniscient narrator next describes Soaphead Church, the “cinnamoneyed West Indian with lightly browned skin” brought up to deny his own blackness.