Even before the reader encounters Pecola’s italicized conversation with her imaginary friend, the introductory lines at the top of the page already set this section of the book apart. Unlike for previous paragraphs, it fully ends with “…PLAYJANEPLAY” (195). This definitive ending mirrors how Pecola, in her mind, has reached her desired end: the attainment of pretty blue eyes. However, by the end of the book, Pecola has fractured into two distinct voices, a tragedy considering how she never truly had a voice to call her own in the first place. Although portrayed as a conversation between her and her imaginary friend, this part of the novel can also be read as an internal monologue that portrays Pecola’s deterioration, but also the sheer velocity with which Pecola herself drives this deterioration. Even within a conversation of her own creation, Pecola fails to stop ruminating upon her worries considering Cholly and Sammy, but especially her blue eyes and whether they are the bluest eyes of them all.  She accuses the voice of being jealous, and promptly apologizes, questioning how she never saw this friend when she was “Right before my eyes” (196), to which the friend responds, “No, honey. Right after your eyes” (196). In some ways, this dual, splintered persona is more knowledgeable than Pecola herself, almost reminiscent of Bechdel’s relationship with Alison. However, she does little to aid Pecola in reconstructing her sense of self and her narrative; rather, she further propels Pecola’s deterioration, playing the “good game.”