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mrs dalloway


. . Then I wrote it out as a she' story, and that didn't work . . . It was me, the author, sort of omnipotent, talking- (Bakerman 59). Morrison intentionally kept Pecola from any first person narration of the story. Morrison wanted to "try to show a little girl as a total and complete victim of whatever was around her,"" and she needed the distance and innocence of Claudia's narration to do that (Stepto 479). Pecola's experiences would have less meaning coming from Pecola herself because "a total and complete victim- would be an unreliable narrator, unwilling (or unable) to tell relate the actual circumstances of that year (Stepto 479). Claudia, from her youthful innocence, is able to see and relate how the other characters, especially Pecola, idolize the "ideal- of beauty presented by white, blue-eyed movie stars like little Shirley Temple. .
             In addition to narrative structure, the structure and typography of the novel itself help to illustrate how much and for how long white ideas of family and home have been forced into black culture. Instead of conventional chapters and sections, The Bluest Eye is broken up into seasons " Fall, Winter, Spring, and Summer. This type of organization suggests that the events described in The Bluest Eye have occurred before, and will occur again. Linda Dittmar, in her article examining form in The Bluest Eye, says, "Inherent in the notion of the seasons is the fact that they are an annually recurring condition from which there is no escape- (143). Further dividing the book are small excerpts from the "Dick and Jane- primer that is the epitome of the white upper-middle class lifestyle. Each excerpt has, in some way, to do with the section that follows. So the section that describes Pecola's mother is started with an excerpt describing Dick and Jane's mother, and so on. The excerpts from "Dick and Jane- that head each "chapter- are typeset without any spaces or punctuation marks.


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