Her physical strength symbolizes the new forms of revolt against the so called man’s right to beat his wife. She is a woman who dares to call “hell no” to a white mayor’s wife and knocks him down straight on the road. Historians, says Walker, are the enemies of women, especially of black women: what history there has been is “a history of Dispossession”( Tucker, p. 82). Celie, Sofia, Nettie and Shug Avery design their own stories of
Pearl is an uncontrollable little girl who has behavioral issues and acts similar to a demon child. It seems nearly impossible for her mother to control her. Like the A on Hester’s chest, Hester cannot just pluck Pearl out of her life. After all, it is Hester’s sin that causes her to wear the A, which also stands for adulterer. When Hester, Pearl, and Dimmesdale meet in the woods, Hester attempts to rid her own life of the A by tearing it off.
The most prominent woman in the novel is Nurse Ratched. Nurse Ratched exposes the men’s weaknesses by getting each of them to point out each other’s flaws. Kesey shows that when women hold leadership roles, it takes away a man 's ability to be a man and leaves the man with physical damage. In the story, McMurphy explains to Harding about Nurse Ratched and how she is manipulating the men, using her influence to emasculate them. He says, “The hell with that; she’s a bitch and a buzzard and a ball-cutter, and don’t kid me, you know what I’m talking about” (Kesey, 61).
She did it quick and as painless as she could, yet the mark still remains to taunt her. While it could be argued that she made the right choice, the child would obviously take on a very biased perspective. Beloved desires a very different type of revenge, she thrives to make her mother and younger sister Denver suffer in a prolonged similar way to her. Throughout a majority of the novel, Morrison makes it clear how revenge is a dish best served by oneself. With the tone she ridicules the antics of Beloved, it is easy to unveil her bias to the plot.
She is also doing this as revenge of Mary for turning on her and the girls, so she wants her killed for it. Abigail continues her revenge by leading the girls into another fit after Elizabeth leaves the courtroom, and this one is directly targeting Mary Warren as the source. She and the other girls go into full hysteria, mimicking Mary Warren 's every action and word, “Oh. Mary, this is black art to change your shape. No, I cannot, I cannot stop my mouth; It’s God’s work I do” (875).
Hilly was also very degrading towards others, and manipulative. “‘Like I’d even consider beating my friend Yule May Crookle out a her job. Miss Hilly think everbody just as two-faced as she is (Stockett 398).’” According to this quote, it is clear to see that Ms. Hilly does not have a good reputation in the black community. In the novel, Ms. Hilly is shown to be cruel to those who oppose her. She threatens Minny, Skeeter, and just about anyone who does not go along with her plans, or is associating with the black community For instance, when Yule May was denied of a raise to help her boys get into college from Ms. Hilly, she had no choice but to steal from Ms. Hilly.
The grandmother’s bigoted self-elevation quickly taints her moral reputation. While common in her environment, the grandmother does not resist racial slurs. In fact, she wields them as an integrated part of her vocabulary to undermine her supposed inferiors. She first exemplifies her instinctive racism when she calls a black child a
Yet, this desire for human contact crumbles when all the ranch workers see her as a “bitch” (32) and a “jail bait” (32) who “poison[s]” (32) them. No matter how hard she tries to appeal to the ranch hands, they will always see her as the ranch whore, nothing more or less. They will never understand why she flirts with them and provokes them because in their eyes she only causes trouble for them. Crooks clearly states that they “don’t want no trouble” (77) when Curley’s wife enters uninvitingly, and she responds with “…I ain’t giving you no trouble. Think I don’t like to talk to somebody ever’ once in a while?” (77) From the perspective of the ranch hands, Curley’s wife represents a nuisance with no individuality,
Black women faced constant sexism in the Black Liberation Movement. The movement, though ostensibly for the liberation of the black race, was in word and deed for the liberation of the black male. Freedom was equated with manhood and the freedom of blacks with the redemption of black masculinity. The lives of African-American women have been critically affected by racism, sexism and classism, which are systems of societal and psychological restriction. The racist, sexist and classist structure the American society compartmentalizes its its various ethnic groups, denigrates the colored as inferior and characterizes males and females as center and margin respectively.
Because Frado is of mixed race, she experiences an even worse sort of degradation than she would have if both of her parents had been black, a situation which leads to her position as a societal outcast. For example, Mrs. Bellmont’s hatred for Frado and the strength of her cruelty progressively increase throughout the story in part because Frado “was not many shades darker than Mary now,” suggesting that Mrs. Bellmont fears the power that black people could gain if they were treated as equals to whites in the North (Wilson 39). For example, Mrs. Bellmont forbids Frado from sheltering her skin from the sun in an attempt to make Frado darker. She fears that her peers will notice that Frado is not much darker than Mary: “what a calamity it would be to ever hear that contrast spoken of.... Mrs. Bellmont was determined the sun should have full power to darken the shade which nature had first bestowed on her as best fitting” (Wilson 39). Although Mrs. Bellmont has already alienated Frado as a result of her skin color, she attempts to further remove Frado by attempting to expel Frado from the liminal space she occupies as a mulatto by making her darker skinned.
Margo, insecure and just another papergirl to others, attempts to destroy everything in her paper town that harms her on one final mission, but instead she hurts herself in the long run because she pushes back the people who care about her. A couple weeks before graduation, Margo convinces Quentin, a boy she has not spoken to in nine years, to embark on a revenge plot against all of the people who have wronged her. During the journey, John Green, the author, shows the readers Margo’s broken interior that has been stomped on by her ex-boyfriend and so-called friends.
In To Kill a Mockingbird, blacks are simply oppressed due to the color of their skin. Pecola, hated for issues that she had absolutely no control over and could not adjust. Just like Cholly, some victims of powerful self-loathing turn out to be dangerous, violent, reproducing the same demon that has humiliated them over and over. In the text Feminism is for Everybody, Bell Hooks says “All white women in this nation know that whiteness is a privilege.”(55) Hooks references race in comparison to gender in the chapter called “Race and Gender”. Enlightened how white women may prefer to ignore that statement, nevertheless they are just in denial of its truth.