to contradict the statement; saw in fact, support for it leaning at them from every billboard, every movie, every glance” (p. 39). This master” is clearly the colonial power in “all-knowing America—whites. Carmichael would argue that it is clearly white hegemony in America that has forced the Breedloves, and so many other Blacks in America, to see themselves as ugly and as inferior to whites. Slavery, political disenfranchisement of Blacks, and political hegemony for whites depended upon Blacks donning the of inferiority in America, and really, “cloaks” throughout the world. Jennifer Gillan argues that it is especially important that Morrison to set this story during 1940-41, because this is the year the United States finally decided to enter World War II and begin the positioning of [itself] as the crusader against racialized forms of “initial nationalism abroad” while United States’ own conflicts over race purity were displaced, and “the receded into the background” (284). The Black Power Movement as well as Black writers like Toni Morrison sought to expose the contradictions inherent in the new image of the United States as of democracy and staunch critic of racialized nationalism abroad” and the racist “defender institutions that existed in America that made American citizenship determined” in the “racially 1970’s and 1980’s (Gillan, 284). By naming the three prostitutes, China, Poland, and the Maginot Line, by using particular metaphoric descriptions like Maureen Peal’s brown “long hair” braided into lynch ropes” down her back, and by Pecola as scapegoat,” “two “depicting Morrison her novel as a subtle interplay between its foreground history of the “constructs Breedlove family and its background history of the racial determination of American citizenship” (Gillan, 284).
to contradict the statement; saw in fact, support for it leaning at them from every billboard, every movie, every glance” (p. 39). This “all-knowing master” is clearly the colonial power in America—whites. Carmichael would argue that it is clearly white hegemony in America that has forced the Breedloves, and so many other Blacks in America, to see themselves as ugly and as inferior to whites. Slavery, political disenfranchisement of Blacks, and political hegemony for whites depended upon Blacks donning the “cloaks” of inferiority in America, and really, throughout the world. Jennifer Gillan argues that it is especially important that Morrison to set this story during 1940-41, because this is the year the United States finally decided to enter World War II and begin the “initial positioning of [itself] as the crusader against racialized forms of nationalism abroad” while “the United States’ own conflicts over race purity were displaced, and receded into the background” (284). The Black Power Movement as well as Black writers like Toni Morrison sought to expose the contradictions inherent in the new image of the United States as “defender of democracy and staunch critic of racialized nationalism abroad” and the racist institutions that existed in America that made American citizenship “racially determined” in the 1970’s and 1980’s (Gillan, 284). By naming the three prostitutes, China, Poland, and the Maginot Line, by using particular metaphoric descriptions like Maureen Peal’s “long brown hair” braided into “two lynch ropes” down her back, and by “depicting Pecola as scapegoat,” Morrison “constructs her novel as a subtle interplay between its foreground history of the Breedlove family and its background history of the racial determination of American citizenship” (Gillan, 284).