Furthermore, Pecola Breedlove experiences this rejection of not feeling beautiful because of her skin colour. Pecola Breedlove does not inspire readers with this notion however, it is through her actions and her idea of wanting to change her appearance, and wanting the bluest eyes that her friend Claudia points out this main theme. Claudia “knew she was fond of the Shirley Temple cup and took every opportunity to drink milk out of it just to handle and see sweet Shirley’s face” (Morrison, 23). Pecola cherishes this cup because Shirley Temple dolls have fair skin, blonde curls and bright blue eyes. In addition, Claudia knowing that Pecola has these views chooses to thinks otherwise. She does not feel as though just because you have coloured skin that you should be treated unjustly. This is most evident when Pecola near the end of the novel is pregnant and majority of the town feels as though her child is “Bound to be the ugliest thing walking” (Morrison, 189) because it is a production of two black individuals. Claudia steps in by confessing to Freida, “Let’s ask Him, [God] to
Furthermore, Pecola Breedlove experiences this rejection of not feeling beautiful because of her skin colour. Pecola Breedlove does not inspire readers with this notion however, it is through her actions and her idea of wanting to change her appearance, and wanting the bluest eyes that her friend Claudia points out this main theme. Claudia “knew she was fond of the Shirley Temple cup and took every opportunity to drink milk out of it just to handle and see sweet Shirley’s face” (Morrison, 23). Pecola cherishes this cup because Shirley Temple dolls have fair skin, blonde curls and bright blue eyes. In addition, Claudia knowing that Pecola has these views chooses to thinks otherwise. She does not feel as though just because you have coloured skin that you should be treated unjustly. This is most evident when Pecola near the end of the novel is pregnant and majority of the town feels as though her child is “Bound to be the ugliest thing walking” (Morrison, 189) because it is a production of two black individuals. Claudia steps in by confessing to Freida, “Let’s ask Him, [God] to