Morrison, in her Foreword to The Bluest Eye, writes,
“When I began writing The Bluest Eye, I was interested in something else. Not resistance to the contempt of others, ways to deflect it, but the far ore tragic and disabling consequences of accepting rejection as legitimate, as self-evident. I knew that some victims of powerful self-loathing turn out to be dangerous, violent, reproducing the enemy who has humiliated them over and over. Others surrender their identity, melt into a structure that delivers the strong persona they lack. Most others, however, grow beyond it. But there are some who collapse, silently, anonymously, with no voice to express or acknowledge it. They are invisible. The death of self-esteem can occur quickly, easily in children, before their ego has “legs,” so to speak. Couple the vulnerability of youth with indifferent parents, dismissive adults, and a world, which, in its language, laws, and images, re-enforces despair, and the journey to self-destruction is sealed” (x).
Given this objective, with Pecola as its embodiment, why does Morrison decide to begin each season with a first-person narrative from Claudia? Or, what does this juxtaposition between narratives do to further elucidate Pecola’s story? Or what effect does this choice have on the narrative as a whole?