The Bluest Eyes and narrative shifts
The Bluest Eyes keeps shifting the point of view of the narration, through various mechanisms, either through a different narrator or a change in the focalization. If the first part kept mostly to Claudia and an omniscient narrator’s perspective, the second part of the novel is less sparse in using these kinds of devices, as we are made aware of both of Pecola’s parents’ stories – Polly through a first-person narrative like a journal, intertwined with the omniscient narrator’s account, and Cholly through his own internal focalization. We are even invited into Pecola’s mind, in a strange dialogue with an unnamed “friend” (who might be understood as a form of Pecola’s subconscious). In a novel that questions the subjective view of beauty, showing multiple accounts and perspective serves to create and question a previously fixed understanding of what beauty can contain. There is no clear and definite perspective on beauty, and it translates in the form of a wavering identity; there is a clear vocabulary of stripping oneself of everything once the self is viewed through the lens of beauty: Polly experiences it both when she take on the standard of beauty for herself – “in equating physical beauty with virtue, she stripped her mind, bound it, and collected self-contempt by the heap” (122) – and when she gives it up – “Everything went. Look like I just didn’t care no more after that.” The clear dichotomy between “after” and “before” (196) getting blue eyes – or, the equivalent of becoming beautiful – is soon blurred by the unnamed voice who plants seeds of doubts in Pecola’s mind, forcing her to continue her quest – until the last image of her, “searching the garbage” (206).