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55 pages 1 hour read

Gloria Naylor

The Women of Brewster Place

Fiction | Novel | Adult | Published in 1982

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Chapters 5-6Chapter Summaries & Analyses

Chapter 5 Summary: “Cora Lee”

Content Warning: This section of the guide contains descriptions of child neglect, anti-gay bias, alcohol abuse, sexual abuse of a child, sexual assault, and murder.

As a child, Cora Lee loved baby dolls. Every year at Christmas, her parents gave her a new doll, which she would hug and kiss “reverently.” As Cora got older, her father began to worry, feeling uncomfortable at seeing his maturing daughter still cradling plastic dolls to her growing chest. When Cora’s sister caught her “doing nasty” with a boy, Cora’s mother explained that she had to be careful because her body was grown up enough to make babies. Instead of feeling fear, Cora responded with an “enlightened wonder” that worried her mother.

The novel returns to the narrative present. Cora Lee’s downstairs neighbor shouts up at her to keep her children from making such a racket on the neighbor’s ceiling. Cora looks up from her television show and makes a half-hearted attempt to calm the pack of children rushing around the living room. She wonders what her neighbors really expect her to do; there are too many children, and she can’t “be in a hundred places at one time” (110). When a rogue ball hits the baby in her lap on the head, she finally shouts at the gang of children to play outside. She wonders if the children have done their homework and contemplates the problem of her eldest daughter getting held back a year despite her enjoyment of school. Again, Cora laments that she can’t keep up with everything. She looks down at the baby in her lap and wishes the children would stay “so soft and easy to care for” (111). Cora works hard to keep the baby’s crib spotless, always worried about the invasion of germs, and she hates how her older children always come home filthy. She thinks that her children change as they age, and she doesn’t “understand” them anymore.

Only two of Cora’s pack of children have the same father. After having been with men who beat her or left with promises unfulfilled, Cora is now content with the limited attention she gains from “shadows […] who [come] in the night” (113). Sometimes, these “shadows” lie to her, but they “bring the new babies” (113), and Cora is always glad of this. Cora’s musings are interrupted by a knock at the door. It is Kiswana, holding onto one of Cora’s sons. Kiswana introduces herself and says uncomfortably that she found Cora’s son eating out of the garbage can and thought he might be hungry. Cora tells the surprised Kiswana that her son isn’t allowed to have candy because his teeth are rotten, so he looks for them in the trash. She laments that she can’t be everywhere at once and assures the other woman that the boy will stop this habit if he makes himself sick enough. She assures Kiswana that her children are well-fed and announces that she is about to start dinner. 

Her children give away her lie by muttering that they never eat so early, but Kiswana lets the subject drop. She tells Cora that she wants to start a tenant’s association to pressure the landlord into making some much-needed repairs. Cora notices that Kiswana is wearing designer jeans and wonders why she lives in Brewster Place. Cora is doubtful that an association would do any good, but their conversation is interrupted by a child’s scream. One of Cora’s children has climbed the drapes and crashed to the ground. Cora seems more worried about the drapes than the screaming child, and Kiswana comforts him. She worries he has hit his head and expresses “disapproval” at Cora’s lack of concern. Cora notices that her favorite show is about to start and makes an excuse to Kiswana, telling her she must get back to dinner and promising to fill out the tenant association paperwork another time. As Kiswana leaves, she gives Cora a flyer for a play that her boyfriend is producing in the nearby park, an all-Black production of A Midsummer Night’s Dream. She insists that the kids would love it, but Cora isn’t so sure. Kiswana continues insisting until Cora gives in, and they plan to meet and attend the play together. 

After Kiswana leaves, Cora flips through a photo album containing her children’s baby portraits. Looking at the state of her apartment, she thinks that Kiswana must have assumed that she is a bad mother. She decides to prove Kiswana wrong by having all of her children clean and ready for the play. The next day, she bathes the children in shifts and rushes around the apartment, pressing and mending clothes. When Kiswana arrives, the children are lined up, dressed in an “array of roughly patched trousers, ill-fitting shirts, and unevenly hemmed dresses” (122-23). At the park, Cora makes sure all her children are within arm’s reach so she can keep them from misbehaving. However, everyone, including Cora, is captivated as soon as the play starts. She starts thinking about her children’s futures and resolves to help them with their homework, ensuring that they attend school and find good jobs. When the play ends, Cora feels “a strange sense of emptiness” (126). She sincerely thanks Kiswana for the invitation and gathers up her children. At home, she bathes them, kisses them, and tucks them into bed. She walks around the clean apartment, relishing the sense of “order and peace” that it holds. In her bedroom, one of the “shadows” is waiting. Cora tucks the memory of the evening “deep within the creases of her dreams” (127) and gets into bed with the man.

Chapter 6 Summary: “The Two”

When Lorraine and Theresa first move into Brewster Place, they “[seem] like such nice girls” (129). However, soon, “the rumor” begins to spread. One night, Sophie, a resident of Brewster Place, sees one of the girls trip, and the other catches her with a strange intimacy. People in Brewster Place begin to suspect the true nature of the women’s relationship. Sophie’s window looks toward Lorraine and Theresa’s, so she becomes the building’s “official watchman” and spies on the two women. Lorraine starts to notice a change in her neighbors’ attitudes. Although everyone was friendly at first, they now avoid meeting her eyes or answering her greetings. When Sophie tries to peer into her shopping bag one afternoon, Lorraine tells Theresa of her worries about the neighbors’ suspicions. Theresa is immediately angry and accuses Lorraine of making her move from apartment to apartment because of the “mysterious theys” whom Lorraine claims must be aware of their romantic relationship. Lorraine immediately apologizes, and Theresa wishes that her girlfriend would “fight back” for once. Even though Theresa was initially attracted to Lorraine’s “softness,” the other woman’s constant need for “goodwill” and approval sometimes frustrates her. However, ever since Lorraine lost a job in Detroit because of her sexual orientation, she has been afraid that the same thing might happen in Brewster Place. Theresa comforts her, and Lorraine sets about making dinner. 

The newly formed tenants’ association meets in Kiswana’s apartment. She has decorated for the occasion with a banner that reads “Today Brewster—Tomorrow America!” (138), but its meaning is lost on most of the residents. The meeting is a confused babble of complaints as the residents voice their grievances. Sophie pipes up, wanting to discuss the “bad element” that has moved in. She insists that the association should take action against Lorraine and Theresa, but Mattie and Etta speak against her, telling Sophie to mind her own business. However, between themselves, they also disapprove of Lorraine and Theresa’s relationship. Mattie thinks hard and remarks that she has “loved some women deeper than [she] ever loved any man” (141) and wonders if it is so different from Lorraine and Theresa’s love.

Meanwhile, Lorraine is climbing the stairs to Kiswana’s apartment. Theresa has no interest in the meeting, but Lorraine wants to be part of the Brewster Place community. She thinks that Theresa doesn’t understand the pressure that Lorraine feels; she is a first-grade teacher, and if people find out she is in a relationship with a woman, they will see her as a threat to their children. In any case, she cannot isolate herself like Theresa does; she wants her neighbors to like her. As she enters Kiswana’s apartment, the residents are in a heated argument about throwing a block party to raise money for a housing lawyer, and the meeting secretary storms out. Lorraine offers to take notes in her stead, but Sophie objects loudly, asking to vote on the new secretary. Kiswana is confused because no one else wants to take notes, and Sophie accuses the room of siding with “the likes of them,” indicating Etta and Lorraine instead of a “decent woman” like her. Etta takes offense, and the two almost come to blows. Sophie looks at Lorraine and tells her that she and her “nasty ways” aren’t welcome in Brewster Place. Lorraine maintains her composure, and Sophie tells the room that Lorraine left her shades up. She saw the other woman come out of the bath dripping wet and ask Theresa for a towel. Ben comes to Lorraine’s rescue by teasing Sophie for implying that she bathes with her clothes on. 

Lorraine rushes out of the apartment, and Ben follows her. He asks if she is all right, but Lorraine just nods, afraid she will scream or throw up if she opens her mouth. Ben takes her down to his basement apartment, where he makes tea and tells Lorraine that she reminds him of his daughter. Lorraine tells Ben that her father kicked her out when she was 17 after he found a letter from one of her girlfriends. She has always sent him birthday cards, but they were always returned unopened. Now, she says, she doesn’t include a return address so that she can imagine that one day he will read the cards. Ben says that his daughter doesn’t have a return address either and tells Lorraine that she is welcome in his home any time.

As Lorraine leaves, Ben starts to hear crystal bells from a memory he tries hard to suppress with alcohol. He rushes to take a drink, chugging the wine straight from the bottle in an attempt to “unremember” his wife and daughter. Years ago, Ben lived in Tennessee with his wife, Elvira, and their daughter, a girl with a pronounced limp. Ben was a sharecropper, and his family was poor. Every week, Ben’s daughter worked in the house of Mr. Clyde, the white man who owned the property that Ben farmed. Mr. Clyde always insisted that Ben’s daughter stay overnight, and one day, she confessed to her parents that the man molested her. Elvira refused to believe her daughter, thinking her that accusations were just excuses to be lazy and avoid work. She accused Ben of not being man enough to support his family and told him to be grateful to Mr. Clyde for being generous enough to give their daughter a job. Ben began drinking to numb the shame of doing nothing to help his daughter. Eventually, she ran away from home. Sometimes, she writes, but there is never a return address.

On Friday, Theresa is on her way home after a long day in the office. Thinking about Lorraine, she realizes that she has noticed her girlfriend being more assertive, which Theresa thought she wanted but now finds bothersome. Theresa is frustrated because Lorraine has been spending lots of time with Ben. She wonders what the two could have in common and resents that Ben seems to have made Lorraine stronger when Theresa could not. As she thinks, a little girl crashes on her roller-skates in front of Theresa. She rushes to the girl’s aid and helps her clean her scraped knee. The girl’s mother hurries over, demanding to know what Theresa is doing to her daughter. Offended by the implication, Theresa shows the embarrassed mother the bloody tissue and angrily climbs the stairs to her apartment. Lorraine is in the bath, and as Theresa starts preparing dinner, she sees Sophie spying from the window across the way. Furious, Theresa yanks her blinds up and invites Sophie to watch her make meatloaf, shouting that she does it just like anyone else. She begins to throw the vegetables and eggs at Sophie’s window, and Lorraine stops her right before she throws the meat, insisting that it is expensive. Lorraine’s concern over the ground beef makes Theresa laugh. Her laughter turns into tears, and Lorraine holds her, not worried about Sophie’s watchful eye. 

The next day, Lorraine runs into Kiswana on her way home. Kiswana awkwardly tries to apologize for the disastrous tenants’ meeting and invites Lorraine to help organize the upcoming block party. As they talk, C. C. Baker and his “pack” of young men walk by. The men know Kiswana’s boyfriend, and they warn her against talking to Lorraine, warning that she “might try to grab a tit” (161). They argue, and C. C. and his cronies finally go on their way. That night, Lorraine and Theresa plan on going to a party at a gay club that they frequent. However, they fight when Lorraine comes home from talking with Kiswana. Theresa suggests that Lorraine might prefer to visit her “boyfriend,” Ben, and Lorraine says that talking to Ben makes her feel like she is no different from anyone else. Theresa insists that she and Lorraine are different, but Lorraine disagrees. She tells Theresa that she was the same before, and after she fell in love with a woman for the first time, it didn’t make her any different. Theresa counters that the whole world is against them, and Lorraine begins to cry. When Theresa doesn’t comfort her, she goes to the club by herself.

Lorraine stays in the club for an hour, nursing a drink alone and trying to avoid conversation. She leaves but is too early to go home, so she decides to visit Ben. Hesitant to let Theresa see her going into his basement apartment, she heads down a side alley out of sight of their window. Walking down the dark alley, she feels nervous and starts running when she hears a thumping noise behind her. She crashes into C. C. Baker. His gang closes in around her. They beat her, rape her, and leave her in the alley. Dawn breaks as Lorraine lies half-conscious in the alley. Ben comes out of his apartment, singing to himself and having his morning drink. Aroused by the movement, Lorraine starts to crawl her way toward him. Meanwhile, Mattie wakes up in her apartment. She looks out the window and sees Lorraine crawling down the alley, so she pulls on her coat and hurries outside. As Lorraine gets closer to Ben, she picks up a loose brick. Just as Ben sees Lorraine and starts to ask what happened, Lorraine smashes the brick against his head. She continues to beat him with it as Mattie screams until arms come to restrain her.

Chapters 5-6 Analysis

Both chapters in this section of the novel highlight the divisions between the women living in Brewster Place. While all of the characters experience at least one form of oppression, Naylor also makes it a point to examine the ways in which they oppress one another, especially when factors like sexual orientation and socio-economic status continue to separate them. Significantly, Cora Lee’s chapter opens with a quote from Shakespeare’s Romeo and Juliet that reads:

True, I talk of dreams, 
Which are the children of an idle brain 
Begot of nothing but vain fantasy (107).

The phrase establishes the pattern of Shakespeare references that will appear throughout the chapter, but it also reflects the nature of Cora’s relationship with her children. The author arguably accuses Cora of engaging in a “vain fantasy” of her own, for although she loves babies with an almost obsessive enthusiasm, she exhibits an almost criminal lack of interest in caring for her older children. Thus, she maintains a willful delusion that ignores the reality that all babies grow up, and this with this deliberate mindset, she permits herself to become pregnant over and over again. However, the chapter’s early flashback to Cora’s childhood fascination with baby dolls and babies implies that there is something very naive and innocent about Cora, almost as though she is a child herself. As an adult, for example, she continues to refer to sex in the same way she did as a little girl, calling it “the thing that felt good in the dark” (113), and this awkward phrasing suggests her enduring lack of maturity. 

This chapter also illustrates the interconnected nature of the different women’s stories and showcases Naylors narrative talents, for the author juxtaposes certain characters to imply the greater differences that divide them without explicitly stating the nature of such nuances. For example, Cora’s interaction with Kiswana allows the author to portray Kiswana’s character from an outsider’s perspective, offering a new portrayal that her own chapter was not equipped not convey. In Kiswana’s chapter, she bases her identity on her poverty and her Black heritage, just like the rest of the residents of Brewster Place. When her mother worries about her decision to live among “these people,” Kiswana bristles at the implicit criticism, stating, “they’re all black” (83) and insisting that she is no different from anyone else in Brewster Place. However, this assertion falls somewhat flat in Cora Lee’s chapter as Cora quickly notices Kiswana’s “designer jeans” and “silk blouse” and wonders what someone like Kiswana is “doing on a street like Brewster” (115). While factors like race and gender unite the women in Brewster Place, they are also divided by other factors such as class and relative socio-economic status. From Kiswana’s perspective, she and Cora Lee are the same because they are both Black women. However, Naylor uses this chapter to highlight the depth and variety of the Black female experience, illustrating the diversity that exists within this group of women. 

This diversity becomes even more apparent when Chapter 6 examines the intensity with which some women are ostracized for being different. While many of the chapters have focused on the ways in which the protagonists find a sense of Community and Sisterhood Amidst Adversity, this chapter tells the story of Theresa and Lorraine, a lesbian couple whose relationship has caused them to be hounded out of their previous apartments. Unlike the other characters, Theresa and Lorraine’s names don’t appear in the title of their chapter. Instead, the pointed title of “The Two” is meant to imply that even within the community of women who inhabit Brewster Place, Lorraine and Theresa are too different to be welcomed. Thus, the title reflects the tenants’ collective act of dehumanizing the women and invalidating their relationship. The other women see Theresa and Lorraine as a threat to their community, and their friendliness quickly turns hostile. The poisonous “yellow mist” of rumor also starts to poison Lorraine and Theresa’s relationship, pushing them further from one another, and the women’s troubled relationship with their community reflects a different angle of “Deferred” Dreams and the Search for Belonging. One of the main conflicts between the two women is the issue of whether their sexuality makes them different from others. Theresa insists that it does, but Lorraine is more generously inclined to believe that “Black people [are] all in the same boat” (142). She believes that the residents’ shared Black heritage is the most decisive part of their identity and should bind the community together. She dreams of being accepted and becoming part of this community, but like so many others in the novel, Lorraine soon finds her dreams brutally crushed. However, because of the added marginalization of her sexual orientation, the destruction of Lorraine’s dream is more complete, leaving her physically, mentally, and emotionally impacted.

This chapter also provides a deeper insight into Ben’s character. As he and Lorraine grow close, he becomes a stand-in father figure for her, and she becomes a stand-in for his lost daughter. While the theme of The Impact of Systemic Racism and Sexism permeates the entire novel, Ben’s story illustrates how the normalized oppression of women can also destroy the men in their lives. He is haunted by his daughter’s abuse and his inability to protect her. In the end, Lorraine also comes to see him as representative of the harm that men do to women, and in her distress, she kills him. Furthermore, Naylor suggests that systemic oppression is also partially responsible for inciting Lorraine’s violent rape, for the narrative states that the men who assault her are “[b]orn with the appendages of power” (169) but have been oppressed and excluded by white society, left to assert themselves in a “three-hundred-foot alley” that must “serve them as stateroom, armored tank, and executioner’s chamber” (170).

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