The Encaged Man

Polly and Cholly Breedlove are both the results of white supremacy, bad circumstance, and negative influence. Their minds have been infiltrated with “white” ideologies and have deemed themselves ugly because of this. They have lived uncircumstantial lives and have been through terrible things that have shaped them to be who they are. Even in the novel, they live in a storefront because they believed they were “ugly”. It is because of her parents, that Peccola ends up viewing herself as a subordinate to whites. I argue that the reason why she is the way she is because of her father, Cholly. He is a victim of white ideologies and experiences unfortunate circumstances that lead him to grow an aggressive nature and hateful life.

Cholly in the novel is clearly a very aggressive person but what has caused him to be this way? Here I would like to explore his backstory and how he becomes the way he is. We are told about Cholly’s past as a baby and how he was abandoned by his mother. She left him in a “junk heap by the railroad”(Morrison). This is our first segue into an explanation as to why Cholly has a hatred for women. We can analyze and see that Cholly has a hatred for his mother abandoning him even after his Aunt takes care of him. He is still unhappy with his aunt and asks for his father’s name. This is interesting especially if analyzed. You would think Cholly would be grateful and would be respectful towards his aunt for saving her but he is not. Despite being saved by another woman, Cholly still holds a subconscious hatred for women and begins to look for his father despite him not being in his life at all. Here we see how the actions of his mother shape him into forming a hatred for women. It is because of a bad circumstance that he starts this hatred towards women and this later turns him into a violent husband against his wife Polly.

In Cholly’s upbringing, he begins to work and encounters a man by the name of Blue Jack. His encounters with Blue Jake made him happy as Blue Jake told him stories of the past and how he had been with many women. It is with this happiness that Cholly wanted the comfort of fatherhood and yearned for it but he could not have it. We, the readers, get a glimpse of the few sources of happiness that Cholly had as a young child. We begin to see how Cholly has no hatred towards men at this moment but continues to develop his hatred for women.  

It is clear that Cholly views himself as ugly and that he has become a victim of white supremacy. There is an interesting scene in the novel where Cholly thinks about God and how he would look like. This scene supports my argument as he describes God as “a nice old white man, with long white hair, flowing white beard, and little blue eyes that looked sad when people died and mean when they were bad”(Morrison). With this description, we see how whiteness has overcome Cholly’s head and how he has been taught to remain inferior to white people. He sees God as a white person instead of a black person and compares himself to the devil. It was in this moment and self-realization that we see that Cholly accepts these views and begins to see himself as the “devil” or inferior to be better put. This in turn shapes him to remain in the same position in his life and accept that he is “ugly”. These views then reflect later on in the story as he instills these views on his daughter Pecola. He is a victim but it is interesting to see how grows hatred towards whites but still continues to remain in the same spot and accept his position.

Later in the novel, we are told about an experience that Cholly had with two white men. It was in this experience that Cholly had fully embraced his hatred towards women and hatred towards whites. He submits to his anger and accepts that he is inferior to whites. Rather than be angry at the men who had humiliated him, he chose to be angry at the girl that he was having sex with. He lost his humanity and this obviously mirrors his actions in the novel. He repeatedly abuses his wife and also rapes his own child. He is disrupted and this makes him turn into a “free” monster. Cholly is also afraid that Darlene is pregnant and runs away to find his father. He knows it is wrong to abandon a pregnant woman but takes after his father steps and does it anyway. It is interesting here to see the choice that young Cholly makes. I believe that his hatred for women has clouded his judgment and this in turn makes him leave Darlene despite being the product of an abandoned father. It is with this where he himself becomes distorted and no different than his father.  Cholly becomes even more distorted when he finds that his father does not care about him and neglects him. Here we see the sadness and pain that was brought to Cholly, he was utterly alone and even defecated himself to add more to the embarrassment. His one source of happiness did not even know he existed and this crushed him. He later gets the opportunity to form bonds with his children and not make the same mistakes his parents made but he does the opposite. He separates his family and becomes the people he hates so much.

It is with all occurrences that Cholly becomes a “free” man. The book’s description of Cholly’s freedom is ironic as we see how shapes into the alcoholic, aggressive, womanizer that he is presently in the novel. Morrison offers us this backstory so that we the reader could see the results of white supremacy, bad circumstance, and negative influence in his life and how it affected him negatively. Even though he is “free” he becomes a monster and encaged.

 

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asynchronous lesson for 10.22.20

Here’s everything you need to play along today in our third asynchronous session. First the video (be sure to have your copy of the book in hand). Note: disregard the occasional mentions of days of the week, etc.: I recorded it last semester for a different section:

lecture (email if there’s a problem accessing it)

Here’s the text of the lecture, more or less, if you want it.

And here’s the prompt for the blog post that’s due by Friday at 5pm. Note that this post counts as Blog Post #4 on the syllabus! Definitely take in the lecture before writing; the writing assignment will be easier and make more sense after the lecture.

The middle of the novel tracks back in time to relate the “subject formation,” if you will, of Pecola’s parents, Pauline and Cholly. It’s almost as if, to tell the story of Pecola’s formation, it has to start before the beginning in order to find the source of Pecola’s pain, her feeling of “ugliness,” and her identification with an alien whiteness. For both Pauline and Cholly, growing up and forming a self is interrupted in ways that traumatize them and prevent them from fully flowering (to use a botanical metaphor that the novel also employs). Choose either Pauline/Polly or Cholly and explore their backstory. You might think about:
  • what sites of unalienated pleasure and power does s/he find along the way, what moments and places and people and practices sustain him/her, providing pleasure and returning respect?
  • how does this “mirror,” so to speak, get shattered or distorted: who or what disrupts their development, and what are the effects of this disruption?

 

Write at least 500 words and no more than 1000. Have an argument. Cite the text. Due by Friday at 5pm on the course blog. This exercise fulfills the “Blog Post #4 on the syllabus in addition to substituting for today’s (Thursday’s) class.

Killer Mike and the “groove of history”

For those of you who don’t know him, Killer Mike is an Atlanta-based hip-hop artist and one-half (with El P) of the hip-hop dynamic duo Run the Jewels. He’s one of my heroes: hilarious, angry, smart, talkative, and open to the entire world. This episode, from the NY Times‘ “Sway” with Kara Swisher, got me to thinking about the end of Invisible Man. I’ve always found it unsatisfying the way the novel sort of dispatches the Brotherhood and Ras and street-level anarchic struggle and leaves the narrator snoozing underground.

Mike is someone who has lived an above-ground life trying to think about how to pull people marginalized and oppressed by the hyperinequalities and white supremacy of our era into what Ellison calls the “groove of history.” And he sounds like the love child of Ras and Jack doing it, mixing elements of black nationalism and a highly conscious socialist reading of politics and economics. If you haven’t checked out this year’s RTJ 4 album, do so: I’ve linked to it below as well.

 

Opinion | Killer Mike Says He Has a Choice to Make (Published 2020)

The rapper and activist on transforming fear into power.

RTJ4 Full Album Stream

Listen to the full RTJ4 album here!

 

Hurston and Engineering the Invisibility of Race

In Zora Neale Hurston’s “How It Feels to Be Colored Me,” Hurston explores the ironic distance created between herself and the world by racism. Her claim that “the game of keeping what one has is never so exciting as the game of getting” summarizes one of her main points, that there is an inherent tragedy in operating from a point of racial superiority (Hurston). Her anecdote about her white friend’s inability to understand jazz in the same way as her ends with her claim that “the great blogs of purple and red emotion have not touched him,” alluding to an emotional colorlessness attached to his whiteness (Hurston). His displacement within the black jazz club is not just unfelt because of his race, but because of an inbred blindness that has never been challenged in him. He is not refusing the music or it’s meaning; he can only hear “good music” because he has been trained to hear it as that and that alone (Hurston). Hurston sees this as almost tragic, the inability to access a layer of emotion that she clearly appreciates a great deal.

The absence of race, or a simulation of such a thing, also factors into Hurston’s view of the inescapable reality of race. Her statement that in certain moments “I have no race, I am me” calls back to her childhood realization of her own race, the moment she “was not Zora of Orange County anymore, I was now a little colored girl” (Hurston). The presence of race as a complication is a given, but she is able to displace its effects from her mind because of her perspective. She remembers what it is like to be in a non-racialized mindset, or at least one not racialized by her herself. This allows her to break apart her status as a Black woman in society, pulling out the positives while mitigating the negatives as much as possible. Her analysis gives her the tools to fight back on some level against the conditions in which she must live.

Where The Sidewalk Ends (and the Riot Starts)

The narrator of Ralph Ellison’s Invisible Man is, among his many trials, blocked on the sidewalk by a collection of items belonging to an elderly couple being evicted. His interpretation of the various items begins as “a lot of junk waiting to be hauled away” (Ellison 206). Though he learns that the items have significance to their owners, his read on the situation continues to involve the low quality of their belongings. The early description of the “old woman… wearing a man’s shows and a man’s heavy blue sweater” establishes a theme of this section’s narration, the narrator’s disdain for the items despite his wish that the elderly Provos be allowed to keep them (206). This is the central conflict in the narrator’s position, best evidenced by statements he makes that emphasize the shabby qualities of the Provos’ belongings while upholding their right to keep them. IM notes “a fragile paper, coming apart with age,” which turn out to be Brother Provo’s freedom papers (210). These are the final straw of indignation; when he realizes that the very symbol of an elderly man in his community’s freedom is being left on the ground like trash, he is disgusted but not yet stirred to speak. However, only when other men in the crowd begin to menace the marshal conducting the eviction does the narrator step in to try and control things with his rhetoric. His outrage is “only a bitter spurt of gall” until what he sees as the reputation of the Black community is challenged, at which point he takes on the role of mediator (211). In his own mind, the inspiration of seeing the Provos’ things strewn across the sidewalk allows him to step in and offer unseen perspective to those who may benefit from it.

However, the IM’s intentions may belie the truth of how he feels about himself and his ideology, as well as the ruling ideology. Even his mental categorization of the items that the Provos are having taken away is internally racialized; he separates items such as “‘knocking bones’” and “a small Ethiopian flag” from another group with such things as a child’s greeting card and newspaper clippings (209-210). There is a shame in the narrator’s recognition of these items, just as earlier in the chapter he had to slowly overcome his shame to enjoy the street vendor’s yams. When the narrator rhetorically asks the crowd “who’s being dispossessed?” he is trying to channel this assigned shame into anger, one on behalf of his community (216). His internalized anger at not being fully in touch with his community marries with the anger at his community that he has learned from his necessary dealings with a racist world. The significance of the freedom papers now becomes clear: they stand as a symbol of the lack of progression of the Black community as a whole, something which only the narrator is able to “pick up” on. His appeal to the crowd ends in violence against his best efforts not because he is a poor speaker, but because he has externalized an unknown inner rage where he thought there was only indignation.