In The Bluest Eye, Toni Morrison not only captures the unique and compelling voices of her characters, but captures the voice of a race at a specific point in time. The narrative voice and voice of the main characters, as well as the voices of secondary characters are authentic, believable, and full of texture.
The narrative voice of this story is that of the young Claudia. Her voice and character reflect the circumstances of the people around her, the events of the time and story, and the racial issues of the time. “I could not love it. But I could examine it to see what it was that all the world said was lovable. Break off the tiny fingers, bend the flat feet, loosen the hair, twist the head around, and the thing made one sound…” (p. 21). “If I pinched them, their eyes – unlike the crazed glint of the baby doll’s eyes – would fold in pain, and their cry would not be the sound of an icebox door, but a fascinating cry of pain.” (p. 23). Claudia makes clear, her feelings of revulsion toward the pretty white baby dolls she is expected to love and toward the white girls that they replicate. “We were sinking under the wisdom, accuracy, and relevance of Maureen’s last words. If she was cute – and if anything could be believed, she was – then we were not. And what did that mean? We were lesser.” (p. 74). The narrative voice is reflective and intuitive, honest, and more educated than most of the other characters’ voices.
Pauline Breedlove’s voice comes to life near the middle of the story in several long passages told from her point-of-view. Morrison uses a distinct style of speech and language to capture Mrs. Breedlove’s voice in a way that is unique. “Cholly commenced to getting meaner and meaner and wanted to fight me all of the time. I gave him as good as I got. Had to. Look like working for that woman and fighting Cholly was all I did. Tiresome.” (p. 118). The strength of Mrs. Breedlove, her love for Cholly, and her twisted sense of how life is supposed to work all come through in the voice that Morrison has created for her.
The voice of Elihue Micah Whitcomb, illustrated in a letter he writes to God, is perhaps one of the most unique that Morrison creates in The Bluest Eye. “I, I have caused a miracle. I gave her the eyes. I gave her the blue, blue, two blue eyes. Cobalt blue. A streak of it right out of your own blue heaven. No one else will see her blue eyes. But she will.” (p. 182). Whitcomb’s voice is more educated and sophisticated than the other characters, carrying with it an arrogance and disconnect from reality.
Even the voices of the secondary and background characters maintain a style of speech that is authentic to the race, timeframe, and setting.
“‘What she gone do? The mama?’
‘Keep on like she been, I reckon. He taken off.’
‘County ain’t gone let her keep that baby, is they?’
‘Don’t know.’” (p. 189).
There’s also a rhythm to the language and dialogue that pulls the reader into the conversation and helps to make it compelling.
Toward the end of the novel, Morrison beautifully portrays the voice of Pecola, having lost her mind and talking to herself, believing that she does in fact have the most beautiful blue eyes.
“Where do you live?
I told you once.
What is your mother’s name?
Why are you so busy meddling me?
I just wondered. You don’t talk to anybody. You don’t go to school. And nobody talks to you.
How do you know nobody talks to me?
They don’t. When you’re in the house with me, even Mrs. Breedlove doesn’t say anything to you. Ever. Sometimes I wonder if she even sees you.
Why wouldn’t she see me?” (p. 198).
The reader is not entirely sure who Pecola is talking to in the beginning, but it becomes clear and heartbreaking by the end of this section.
In The Bluest Eye, Morrison expertly uses a number of rich and authentic character voices, as well as a compelling narrative voice to reveal and carry the reader through the story of Pecola Breedlove. With the use of realistic speech styles and language choices, as well as some use of dialect, and remaining true to the individual characters in what they would (or wouldn’t) say and how, Morrison weaves a compelling, enthralling story that engages the reader from the beginning through the end. It is clear from Morrison’s work that any writer can create a compelling, authentic narrative by paying particular attention to language and dialect, and by keeping the voice true to the setting and characters.
(Page numbers are based on Alfred Knopf, 2000 edition)
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