Infants Of Horror And Comedy

After the first 30 or-so pages of The Bluest Eye, I noticed something I thought only occurred in horror films, and humorous cartoons. The creators depict intellectual and mature children alongside adults with ignorant and brusque personalities. These older characters often target a population group. Certain scenes epitomize this contrast. In particular, one of Mr. and Mrs. Breedlove's conflicts compare to a fight between toddlers. When Mrs. Breedlove expected her recently intoxicated husband to fetch coal, and Mrs. Breedlove sneezed after he reneged, she attacked like a fierce mother gorilla. "She ran into the bedroom with a dishpan full of cold water and threw it in Cholly's face. He sat up, choking and spitting. Naked and ashen, he leaped from the ned, and with a flying tackle, grabbed his wife around the waist, and they hit the floor" (44). The ensuing battle would only take place among children who don't know their own strength. Luckily, and "tacitly, they had agreed not to kill each other" (43). The adults speak with African American vernacular, while Pecola and Claudia represent mature, misunderstood girls who know how to speak with correct english grammar. Claudia's mother, during her rant regarding one vanished milk incident, screams, "Don't nobody never want nothing till they see me at the sink. Then everybody got to drink water...." (28). What is that, a triple negative?

Here we see a clip of Peter Griffin, from Family Guy, mocking the immature and ignorant American stereotype American, as usual...

Here is one clip of Homer Simpson displaying his clumsiness, only comparable to that of a toddler learning to use his extremities.

Our narrator, Claudia, describes the inside of the Breedlove's home with enough ease and precision to evoke colorful imagery, despite the bleak environment being illustrated. She says that the furnishings were "anything but describable, having been conceived, manufactured, shipped, and sold in various states of thoughtlessness, greed, and indifference" (35). Either Tony Morrison helps Claudia express a setting to help the reader, or she truthfully has mastery over the art of description. This is another possibility:

The children may speak African American vernacular when talking to other characters, and display enviable clarity when reflecting on their surroundings and occurrences.

Now, we shall see how smart children either convey horror, or they hint at uncomplicated intelligence.

How they surprisingly convey horror more effectively than adult figures, I do not know. Either way, I will content myself, and my readers by simply mentioning Chucky, the ventriloquist child puppet of happiness, and showing this harmless image.

Creepy. Now, on to the part where I show the mature, clever, innocent youngling.

OK. OK. So maybe I did have to scavenge a little for a representation of a smart and goodhearted six-year old. So what if we only see this nicely-combed doppelganger in a very rare, one of a kind strip where a character's dual personality materializes. Stewie Griffin seemed like the appropriate example. Despite his extreme lack of innocence, he is still a baby with a weird accent and sense of morality. He is probably the smartest member of his family, tied, ironically, with the dog.