to Maureen Peal, thebeautiful girl from her class. When Claudia and Freida taunted her as she randown the street, they were happy to get a chance to express anger, and "wewere still in love with ourselves then"(74). Claudia's anger towards dolls turnsto hated of white girls. Out of a fear for his anger the she could notcomprehend, she later tool a refuge in loving whites. She had to at leastpretend to love whites or, like Cholly, the hatred would consume her. Laterhowever, she realizes that this change was "an adjustment withoutimprovement"(23), and that making herself love them only fooled herself andhelped her cope. Soaphead Church wrongly places his anger on God andblamed him for "screwing-up" human nature. He asked God to explain how hecould let Pecola's wish for blue eyes go so long without being answered andscorned God for not loving Pecola. Despite his own sins, Soaphead feels thathe had a right to blame God and ot assume his role in granting Pecola blueeyes, although her knew that beauty was not necessarily a physical thing but astate of mind and being: "No one else will see her blue eyes. But shewill"(182). The Mobile girls wrongly placed their anger in their own race, andthey do not give of themselves fully(even to their family). These girls hateniggers because according to them, "colored people were neat and quiet;niggers were dirty and loud"(87). Black children, or they as Geraldine calledthem, were like flies: "They slept six to a bed, all their pee mixing together inthe night as they wt their beds. . . they clowned on the playgrounds, brokethings in dime stores, ran in front of you on the street. . . grass wouldn't growwhere they lived. Flowers died. Like flies they hovered; like flies theysettled"(92). Although the Mobile girls are black themselves, they ". . .got ridof the funkiness. the dreadful funkiness of passion, the funkiness of nature, thefunkiness of the wide range of human emotions,"(83) and most of all they tri...
