Themes are the fundamental and often universal ideas explored in a literary work.
The Bluest Eye provides an extended depiction of the ways in which internalized white beauty standards deform the lives of black girls and women. Implicit messages that whiteness is superior are everywhere, including the white baby doll given to Claudia, the idealization of Shirley Temple, the consensus that light-skinned Maureen is cuter than the other black girls, the idealization of white beauty in the movies, and Pauline Breedlove’s preference for the little white girl she works for over her daughter. Adult women, having learned to hate the blackness of their own bodies, take this hatred out on their children—Mrs. Breedlove shares the conviction that Pecola is ugly, and lighter-skinned Geraldine curses Pecola’s blackness. Claudia remains free from this worship of whiteness, imagining Pecola’s unborn baby as beautiful in its blackness. But it is hinted that once Claudia reaches adolescence, she too will learn to hate herself, as if racial self-loathing were a necessary part of maturation.
The person who suffers most from white beauty standards is, of course, Pecola. She connects beauty with being loved and believes that if she possesses blue eyes, the cruelty in her life will be replaced by affection and respect. This hopeless desire leads ultimately to madness, suggesting that the fulfillment of the wish for white beauty may be even more tragic than the wish impulse itself.
Pecola’s desire for blue eyes, while highly unrealistic, is based on one correct insight into her world: she believes that the cruelty she witnesses and experiences is connected to how she is seen. If she had beautiful blue eyes, Pecola imagines, people would not want to do ugly things in front of her or to her. The accuracy of this insight is affirmed by her experience of being teased by the boys—when Maureen comes to her rescue, it seems that they no longer want to behave badly under Maureen’s attractive gaze. In a more basic sense, Pecola and her family are mistreated in part because they happen to have black skin. By wishing for blue eyes rather than lighter skin, Pecola indicates that she wishes to see things differently as much as she wishes to be seen differently. She can only receive this wish, in effect, by blinding herself. Pecola is then able to see herself as beautiful, but only at the cost of her ability to see accurately both herself and the world around her. The connection between how one is seen and what one sees has a uniquely tragic outcome for her.
The Bluest Eye is not one story, but multiple, sometimes contradictory, interlocking stories. Characters tell stories to make sense of their lives, and these stories have tremendous power for both good and evil. Claudia’s stories, in particular, stand out for their affirmative power. First and foremost, she tells Pecola’s story, and though she questions the accuracy and meaning of her version, to some degree her attention and care redeem the ugliness of Pecola’s life. Furthermore, when the adults describe Pecola’s pregnancy and hope that the baby dies, Claudia and Frieda attempt to rewrite this story as a hopeful one, casting themselves as saviors. Finally, Claudia resists the premise of white superiority, writing her own story about the beauty of blackness. Stories by other characters are often destructive to themselves and others. The story Pauline Breedlove tells herself about her own ugliness reinforces her self-hatred, and the story she tells herself about her own martyrdom reinforces her cruelty toward her family. Soaphead Church’s personal narratives about his good intentions and his special relationship with God are pure hypocrisy. Stories are as likely to distort the truth as they are to reveal it. While Morrison apparently believes that stories can be redeeming, she is no blind optimist and refuses to let us rest comfortably in any one version of what happens.
To a large degree, The Bluest Eye is about both the pleasures and the perils of sexual initiation. Early in the novel, Pecola has her first menstrual period, and toward the novel’s end she has her first sexual experience, which is violent. Frieda knows about and anticipates menstruating, and she is initiated into sexual experience when she is fondled by Henry Washington. We are told the story of Cholly’s first sexual experience, which ends when two white men force him to finish having sex while they watch. The fact that all of these experiences are humiliating and hurtful indicates that sexual coming-of-age is fraught with peril, especially in an abusive environment.
In the novel, parents carry much of the blame for their children’s often traumatic sexual coming-of-age. The most blatant case is Cholly’s rape of his own daughter, Pecola, which is, in a sense, a repetition of the sexual humiliation Cholly experienced under the gaze of two racist whites. Frieda’s experience is less painful than Pecola’s because her parents immediately come to her rescue, playing the appropriate protector and underlining, by way of contrast, the extent of Cholly’s crime against his daughter. But Frieda is not given information that lets her understand what has happened to her. Instead, she lives with a vague fear of being “ruined” like the local prostitutes. The prevalence of sexual violence in the novel suggests that racism is not the only thing that distorts black girlhoods. There is also a pervasive assumption that women’s bodies are available for abuse. The refusal on the part of parents to teach their girls about sexuality makes the girls’ transition into sexual maturity difficult.
