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Environmental influences child development
Analysis of the main character in the bluest eye by toni morrison
Environmental factors that affect the child development in the community
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In Toni Morrison’s The Bluest Eye, the narrator Claudia goes through the experiences of her own childhood as she struggles to make sense of not only her life but Pecola's life as well. In the novel childhood is depicted as the painfully transition to adulthood. Society portrays the innocence of a child, and has the power to take it away.
Society defines the true definition of beauty. This affected Pecola and haunted her on a daily basis. The blonde hair, blue eyes that Pecola so desperately wants is represented by the white culture. She eats the candy to try and make herself like Mary Jane “smiling white face, blonde hair in gentle disarray, blue eyes looking at her out of a world of clean comfort” (50). Pecola’s innocents allows her to believe
At the beginning of the novel “ there were no marigold in the year of 1941”(7). Both Pecola and Claudia learn that the world they live in is unfair and unjust; a world full of hate and dominance. Claudia and Frieda plant the marigolds believing that if the flowers bloom, Pecola’s baby will be born safe and healthy. “It never occurred to either of us that the earth itself might have been unyielding. We had dropped our seeds in our own little plot of black dirt just as Pecola’s father had dropped his seeds in his own plot of black dirt. Our innocence and faith were no more productive than his lust or despair”(7). As Claudia looks back on this experience she realizes that her innocents allowed her to believe that if the Earth wanted the marigolds to live, it would also allow Pecola's baby to live. The soil the marigolds were planted in was unable to nurture the flower to grow, just as the community Pecola was born into. Claudia comes to the conclusion that the marigolds didn't “grow anywhere in the nation because the Earth was hostile to those types of flowers” (206). The black community was not accepted, which Pecola and Claudia learned at a young age. Everything that they once knew were gone, “ all that hope,fear, lust, love and grief, nothing remains but Pecola and the unyielding earth” (8). Thier innocents protected them until society took it away, nothing changed as they grew older except the glimmers of hope
Spring is associated with new life, and the start of a new beginning. However, Claudia associates in her mind with “remembered ache of switchings”(97). This was also when Pecola is raped, “ her grip was from a hopeless but stubborn struggle to be free” (163). Autumn is thought to bring joys with harvest and abundance, but this is when Pecola's baby dies. By splitting the book in sections of season, the miserable life Pecola lives is brought into light This shows that this lifestyle will keep on going. She will never be able to remove herself from the culture she was born into. The life both Pecola and Claudia are living is a cycle that they are unable to get out
After reading and annotating Marigolds by Eugenia W. Collier, I learned that there are some things we don’t know or realize when we are a child. When we become a woman, we have a different perspective on things. That is what Eugenia learned by the end of the story. Once she ruined all of Miss Lottie’s marigolds, she immediately felt guilty. Miss Lottie stood there with no anger on her face, just disappointment. Eugenia said that was when she saw her childhood fade and womanhood start to begin. Once she began womanhood, she learned that those flowers were precious to Miss Lottie and she was tying to make some beauty out of her shanty house. She viewed Miss Lottie as “… only a broken old woman who had dared to create beauty in the midst of ugliness
In the beginning, the author explains how this young girl, Lizabeth, lived in the culturally deprived neighborhood during the depression. Lizabeth is at the age where she is just beginning to become a young woman and is almost ready to give up her childish ways. Through this time period she was confused and could not quite understand what was happening to her. In the end she rips Miss Lottie’s marigolds among the ugly place in which she lived. The marigolds were the only things that make the place a bit beautiful to the eye. In this scene the marigolds represent the only hope the people had for themselves in this time of depression. This could reveal how the author has experienced a loss of hope in times of need. In her explanation of how Lizabeth had torn up the flowers and destroyed all hope in that time of depression, might explain that she has also destroyed hope in a time of pain and grief. Later she writes, “And I too have planted marigolds.” This could mean she has learned from her experiences and that she has finally found hope and always tries to seek the good within the bad and the ugly. On another note, it could mean she just wants to act out on something, but she can’t, so she writes about her...
Lizabeth associates much of her childhood with the vision of “acid, sterile dust . . . the dry September . . . and grassless yards” (Collier, p. 748). The use of this specific imagery relates the effect that poverty had on Lizabeth’s mentality and the role it played in shaping her perspective. A part of that effect is her inability to understand beauty amongst ugliness. This is exemplified in Miss Lottie’s marigolds. Lizabeth describes the marigolds as “the strangest part of [Miss Lottie’s yard]” because “they did not fit in with the crumbling decay of the rest of her yard” (Collier, p. 751). Lizabeth’s preoccupation and apparent disgust with Miss Lottie’s marigolds is a reflection of her unfamiliarity with beauty. It is not until she is familiarized with the beauty present in the marigolds that she understands the fault in her perspective. As a women looking back on the events of her childhood, an older Lizabeth recognizes her fault, yet also states “one does not have to be ignorant and poor to find that life is as barren as the dusty yards of [her] town” (Collier, p.
Our first introduction to these competing sets of values begins when we meet Sylvia. She is a young girl from a crowded manufacturing town who has recently come to stay with her grandmother on a farm. We see Sylvia's move from the industrial world to a rural one as a beneficial change for the girl, especially from the passage, "Everybody said that it was a good change for a little maid who had tried to grow for eight years in a crowded manufacturing town, but, as for Sylvia herself, it seemed as if she never had been alive at the all before she came to live at the farm"(133). The new values that are central to Sylvia's feelings of life are her opportunities to plays games with the cow. Most visibly, Sylvia becomes so alive in the rural world that she begins to think compassionately about her neighbor's geraniums (133). We begin to see that Sylvia values are strikingly different from the industrial and materialistic notions of controlling nature. Additionally, Sylvia is alive in nature because she learns to respect the natural forces of this l...
Miss Lottie’s garden grows marigolds, which are often mentioned in the story. In the story these marigolds are like a symbol of Lizabeths innocence. In the end of the story Lizabeth destroys the flowers, and after acts very differently. As the story describes it, “… and as I look back upon it, I know that
Although imagery and symbolism does little to help prepare an expected ending in “The Flowers” by Alice Walker, setting is the singular element that clearly reasons out an ending that correlates with the predominant theme of how innocence disappears as a result of facing a grim realism from the cruel world. Despite the joyous atmosphere of an apparently beautiful world of abundant corn and cotton, death and hatred lies on in the woods just beyond the sharecropper cabin. Myop’s flowers are laid down as she blooms into maturity in the face of her fallen kinsman, and the life of summer dies along with her innocence. Grim realism has never been so cruel to the innocent children.
The concept of physical appearance as a virtue is the center of the social problems portrayed in the novel. Thus the novel unfolds with the most logical responses to this overpowering impression of beauty: acceptance, adjustment, and rejection (Samuels 10). Through Pecola Breedlove, Morrison presents reactions to the worth of physical criteria. The beauty standard that Pecola feels she must live up to causes her to have an identity crisis. Society's standard has no place for Pecola, unlike her "high yellow dream child" classmate, Maureen Peals, who fits the mold (Morrison 62).
Toni Morrison's novel, The Bluest Eye contributes to the study of the American novel by bringing to light an unflattering side of American history. The story of a young black girl named Pecola, growing up in Lorain, Ohio in 1941 clearly illustrates the fact that the "American Dream" was not available to everyone. The world that Pecola inhabits adores blonde haired blue eyed girls and boys. Black children are invisible in this world, not special, less than nothing. The idea that the color of your skin somehow made you lesser was cultivated by both whites and blacks. White skin meant beauty and privilege and that idea was not questioned at this time in history. The idea that the color of your skin somehow made you less of a person contaminated black people's lives in many different ways. The taunts of schoolboys directed at Pecola clearly illustrate this fact; "It was their contempt for their own blackness that gave the first insult its teeth" (65). This self hatred also possessed an undercurrent of anger and injustice that eventually led to the civil rights movement.
She faces constant criticism, has an aggressive home life, and lives in a society that considers beauty as being white, which negatively affects Pecola and leads her to fantasize about becoming more beautiful. She feels the only way to Morrison uses Shirley Temple to show Pecola’s fondness for beauty. Shirley Temple was a popular young actress during the 1930’s, and was known for her curly blonde hair and blue eyes. Pecola developed a fascination for Shirley Temple cups, “she was fond of the Shirley Temple cup and took every opportunity to drink milk out of it just to handle and see sweet Shirley’s face”(pg.23). This image shows that Pecola believes that having blue eyes will maker her life like Shirley making her more like a white child. Another instance showing this is when Pecola goes to the store she buys the candy Mary Jane, which has a girl with blue eyes on the wrapper. We see her fascination with Mary Jane’s blue eyes, and she felt if she ate the candy she would become Mary Jane. This is shown when Morrison writes, “To eat the candy is somehow to eat the eyes, eat Mary Jane. Love Mary Jane. Be Mary Jane”(pg.50) When it comes to Pecola mother, there is similar racial self-loathing manifested in her as
...tain seeds it will not nurture, certain fruit it will not bear, and when the land kills of its own volition, we acquiesce and say the victim had no right to live.” When the society fails to nurture flowers like Pecola, when nourishment of the soul is denied, the fruit of self-love is never realized and it becomes self-hatred, which lead to Pecola’s undesirable fate. She is driven to insanity and the ultimately to the garbage on the outskirts of town.
In The Bluest Eye, Morrison describes the absurd and racist standard by which the characters are judged. And through the actions taken by each character, that absurd standard becomes more defined, the conflict more poignant. In this particular work, it is the American ideal of beauty that makes Pecola resign her self-image as ugly and it is Pecola's reaction to this standard, her futile wish to become beautiful, that drives her into madness and thus completely exposes the absurd and wrongful nature of this standard. And yet who created this standard? It is present in movies, on candy wrappers. It is completely visible, yet the creator of this standard is somewhere else, never appears as a character.
...that suspends the boundaries of man and nature, the way in which she structures the last image to be one of hostility indicates the unsustainable nature of the garden.
At the conclusion of The Garden Party, Laura is exposed to a side of life she has never encountered before, and comes to a sudden realization that "life and death may indeed coexist and that their common existence in one world may be beautiful" (Magalaner 101). Death is not necessarily associated with ugliness, she learns, but rather it is a natural process which she likens to sound, peaceful sleep. However, her ostensible epiphany is really only astonishment. Laura’s world revolves around the finer things in life, garden parties, and flowers, and she has been surrounded by beauty her whole life. Her social class is too ingrained in her for a momentary glimpse of the contrasting life of the lower class to really affect her (Sorkin 445).
As result of the death of the husband and the son the Mother becomes more isolated because we can identify when the neighbor mentions that mother only rarely leaves her own house to visit friends or do errands. Also, the emotional alienation in the Mother’s case, due to the murders of her husband and son because that affect a lot to her. Meanwhile, the characters in the play frequently discuss the isolation of the Bride’s farmhouse from the rest of the town and how far is everything for her . The emotional alienation in the Bride’s case, due to the pressure to marry because everybody was exited for the marriage of her and they repeat to her the same thing. Also, how Maid and Bridegroom pressure her with the orange blossoms because it represents the purity, chastity, innocence on the
While I personally see it as a destruction of childhood innocence, I do recognize that the standards of beauty was the main issue given Pecola’s obsession for blue eyes and how she was regarded as ugly even in the eyes of other wealthier black people. Morrison did right to use the flower as a symbolism for not only beauty, but life as well. The catch is that flowers need nurturing like a child, but Pecola never received this from her parents. In a sense, Pecola is a flower who wilted as the result of negligence and mistreatment. Thus, it felt appropriate for the novel to begin with this sentence—“Quiet as it’s kept, there were no marigolds in the fall of 1941”