Violence, Beauty, and Catharsis in The Women of Brewster Place

The Novelist's Responsibility to Depict Reality

The realistic artist's or novelist's job is to reflect the world around them, and if that world is one in which gratuitous violence, harsh language, and graphic sexuality are rampant, then the artist has some responsibility to accurately depict the world in which he or she is situated. This does not necessarily mean that the author condones or supports such a world—merely that he or she knows it and is compelled to show it so that the reader can see it, see themselves in it, and reflect on their own lives, actions, and impulses. If the artist affords us the opportunity, we may even glimpse a "way out"—a vision of something higher that can lead the world beyond the mess in which it is situated. That higher vision need not be an overwhelming message or sign; in fact, it can be something as subtle as a simple depiction of a good action, a change in one's behavior, or a mere thought that elevates and points to the transcendent.

In The Women of Brewster Place, Gloria Naylor depicts violence, sex, vulgarity, and explicit language—but at the same time she shows a world of inner beauty inside the barbarous world of unfaithful men and women who cheat each other, fight, and are cruel. For instance, Mattie's devotion to Etta—waiting up all night for her to come home while Etta is sleeping with the Reverend—is a moment that reveals the deep tenderness and charity one soul can hold for another who is caught in the lust of the flesh. Against the backdrop of depravity and self-ruin, moments like these stand out, shine, and give hope to anyone who has spent time in reality and knows what it is like to live without hope. Therefore, while off-putting for some readers, the depiction of sex, violence, and raw language has its place in fiction, serving as a foil that makes the good, true, and beautiful transcendent moments shine all the more brightly.

Violence and Catharsis: Sam's Rage and Remorse

Consider the scene in which Sam beats a young Mattie with a broomstick and Fannie challenges him to stop, warning that she will "meet his soul in Hell" if he does not lay off. Sam is caught in a rage and does not realize what he is doing until Fannie finally breaks through to him—after he has already beaten Mattie badly, torn her clothing, and sent her flying across the floor as though she were nothing. When he comes to himself and realizes what he has done, Naylor writes: "A slow moan came from the pile of torn clothes and bruised flesh on the floor. Sam Michael looked at it, saw that it was his daughter, and he dropped the stick and wept" (p. 24).

Moments like these strike straight to the heart of the reader and evoke a sense of pity and fear, just as a tragic scene should. The fear comes from the recognition that this could happen to anyone—how easy it is to lose one's temper and become a raging beast. The pity comes from seeing that Sam is a human being who has made a terrible mistake, and in that mistake we witness the depth of his sorrow and grief, which compels the reader to empathize with all involved. This moment of pity would not be possible if the situation were not depicted in such graphic terms of violence and language. The reality is what brings home the point of catharsis. Without a realistic depiction, the cathartic effect is diminished. These moments therefore have their rightful place in literature, and because they are authentic, they should not be condemned.

Conclusion: Ugliness as the Backdrop for Beauty

The author's job is to reflect the real world in which he or she lives, and Naylor does that here by focusing on violent outbursts, sexual encounters, and the realistic language that people use. Yet she gives the novel genuine depth by also focusing on the heart and soul of her characters, showing that even beneath so much ugliness there is beauty—and it is precisely that contrast which gives the book its lasting power.

References

Naylor, G. (2005). The Women of Brewster Place. New York, NY: Penguin Books.