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Ann PetryA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
At the casino, Lutie asks Boots how much salary she’ll be getting. Boots informs her that it’ll be “months before you can earn money at it” (304), and that she’s just gaining experience at the moment. He explains that this is on Junto’s orders, and then offers her a pair of expensive earrings from Junto, a gift that fails to impress Lutie.
Lutie leaves angrily, upset at Boots and Junto for misleading her, but more upset at herself, for allowing herself to feel optimism for a fantasy that could never materialize. As she travels home, she seethes about the societal racism that keeps her from advancing. Though she had pictured “Bub growing up in some airy, sunny house and herself free from worry about money” (311), she continually finds herself stuck in the same lowly position, with no opportunity for advancement.
At home, she chastises Bub for leaving the light on all night, one in a continual stream of remarks to him about the hardships of being poor and the necessity of saving money. Feeling like a boxer “after he’s been knocked down hard twice in succession” (313), Lutie rededicates herself to studying for a higher score on the civil servant exam, an effort that leaves her tired and irritable around Bub.
After seeing an ad that promises jobs for nightclub singers, Lutie meets with the talent manager Mr. Crosse, “so fat that he appeared to be bursting out of his clothes” (319). After an audition in which he promises to find her work in exchange for $125 worth of training sessions, an amount she’d never be able to afford, he then propositions her, offering free training in return for sexual favors. She assaults him with an inkwell and hurries home, her prospects for the future bleak.
She has an outburst at home—“‘Damn being poor!’” (325)—in front of Bub, who, after seeing her on edge and upset the past few weeks, decides to take Jones up on his offer to steal from neighborhood mailboxes in order to make extra money.
Bub’s teacher, Miss Rinner, faces her class at the end of the day, anxious for it to be over so she can return home. She can’t escape the “offensive odor” (328) that the children carry everywhere, and she’s disgusted by their “shabby, ragged” (329) coats and their “impudent” (330) behavior. As a white woman, she dreads having to travel to Harlem for work, and “thought of every person she passed as a threat to her safety” (331). She hopes to transfer to a white school soon.
Miss Rinner excuses Bub early, and he runs across the street to buy earrings for his mom using the money he’s earned from Jones for stealing from mailboxes. Though he does feel strange about the theft, he convinces himself that “[i]t wasn’t really wrong because he was helping the police” (340), a lie told to him by Jones.
Bub escapes the clutches of neighborhood ruffians who want to steal his money. He then steps into an apartment building to steal from the mailboxes and lies when an old woman asks who he is. Though a part of him knows that this theft and his lying are wrong, he also finds himself drawn to the “thrilling” (342) nature of these activities.
Bub is so caught up in the excitement of his new job that he stumbles right into the clutches of the ruffians he had avoided earlier, led by the menacing Gray Cap. Gray Cap calls Bub’s mother a whore and bloodies Bub’s nose, but Mrs. Hedges breaks up the fight and threatens the ruffians, should they ever hurt Bub again.
Bub retreats to the cellar of the apartment building, where he gives Jones the stolen letters and is again reassured that they are helping the police. Not wanting to return to the “clammy silence” (350) in his empty apartment, he decides to go back out to steal more letters.
Rather than going to work, Min steps outside her apartment and looks at the gray sky, reflecting on the recent “bitter days that had made this the longest, dreariest winter she had ever known” (352), especially because of Jones’ erratic behavior. He’s been mostly ignoring her, fuming and stewing within the apartment, filling it with “furious, awful cursing” (353).
Min has finally decided that “she [is] going somewhere else to live” (354). Though she’s come to rely on living rent-free with Jones, she realizes that “[h]aving room to breathe in meant much more” (362) than not having to pay rent. She arranges with Mrs. Hedges to send for a pushcart man to help her move her things later in the morning.
When she enters back into the apartment, she surprises Jones, who’s “tearing up some letters” (356) and accuses her of spying on him. He approaches her with his hands raised, and Min prepares for violence: “She knew how it would go, for her other husbands had taught her” (357). She’s resigned to her fate, and absently makes the sign of the cross over her body. This stops Jones, who releases a “sharp, hissing sound” (358) like a snake before leaving the apartment.
Min, her legs shaking, definitively decides to leave. She thinks of the revealing nightgown she bought at a white saleslady’s insistence, and the way Jones ignored her, “apparently indifferent” (362) to her efforts. When she inspects the torn-up letters, she realizes that “Jones was doing something crooked” (365), and that he would likely kill her if he found out she knew. Though she is reluctant to say “good-bye to the security she had known” (368), she knows that if she stays in the apartment with Jones, she will likely die.
The pushcart man comes, and Min loads him up with all her possessions. She worries that Jones will return, but lingers about the apartment nevertheless, still reluctant to leave. She says goodbye to Mrs. Hedges, and then walks with the pushcart man to a new street, determined to find a new place to live. Recognizing that he was a “very strong man” (371), she makes an overture towards him.
Lutie, Bub, and Min all find themselves manipulated by the whims of those more powerful than themselves, though each has a different response. After being told by Boots that she won’t get paid for singing with the band, Lutie realizes that she was foolish to ever believe in this dream. She’s upset with both Boots and Junto for misleading her, but ultimately believes that “[s]he was to blame” (307); Lutie has become so used to having her dreams dashed that she punishes herself for having high hopes in the first place.
As an African-American woman, Lutie is used to being marginalized, an idea that is reinforced when Lutie attends an audition for Mr. Crosse, who demands money in order to help her find work, and then propositions her. She’s being told that she only has value for her beauty, and not for her skills or intelligence. A lifetime of this treatment has left her cynical and reluctant to hold aspirations in the first place, as seeing her dreams dashed was “worse than being back where she started”(305),as she had allowed herself to become optimistic.
Lutie remains very aware of her powerlessness, which makes her misery acute. This is in contrast to Min, who carries the mystical powders and potions provided by Prophet David as a form of protection. These provide Min with the illusion of control, and therefore give her more agency in her life. Though she faces the same level of powerlessness as Lutie, even within her relationship with Jones, who “couldn’t bear to let his eyes fall upon her, so they slid past her, around her, never pausing really to see her” (354), she takes her fate in her own hands when she finally decides to move out.
Of special importance is that Min is childless, and has more freedom to leave in this regard. Lutie has to consider Bub, who has spent increasingly more time on his own as Lutie struggles to keep the family afloat. This has allowed him to come under the power of Jones, who manipulates Bub into believing they are helping the police by stealing letters. Bub is so hungry for adult approval that he goes along with Jones’ plan, even though a small part of him understands it’s wrong. Ironically, Bub believes he is helping Lutie by earning extra money for the family, when he is actually putting himself in harm’s way. Bub is threatened by both neighborhood boys and Jones himself, yet Lutie is too busy trying to ensure their survival that she can’t see this.
As before, Lutie blames the street itself, which she sees as “the North’s lynch mobs […] the method the big cities used to keep Negroes in their place” (323). Society has been constructed to prevent the advancement of African-Americans, and the street is the manifestation of the policies and segregation that ensure this.
By Ann Petry