Language that liberates, for Morrison, is the opposite of the kind of "master" and reductive discourse that appears in the Dick-and-Jane reader in The Bluest Eye and circulates in the language used by Schoolteacher in Beloved.
Such a portrait emerges in parallel to the kind of saccharin family life that the "Dick-and-Jane" primer represents.
The novel has a double structure: On the one hand, there is the dominant codification of reality whose legitimacy is asserted through the Dick-and-Jane school primer, and on the other hand an alternative re-presentation of this rosy reality is developed through Pecola's story.
Peach's own experience as a critic of modern poetry is evident in his sensitive attention to language: both Morrison's use of language, to which he also addresses a separate chapter, and her implicit analysis - in the contrast between the Dick-and-Jane
mythology and the Breedlove family in The Bluest Eye, for example - of "the way in which language is enmeshed with power structures" (38).
The effort required to do this and the damaging results of it are illustrated typographically in the repetition of the Dick-and-Jane story first without punctuation or capitalization, and then without punctuation, capitalization, or spacing.
Like the Dick-and-Jane story, Pauline's movies continuously present her with a life, again presumably ideal, which she does not now have and which she has little, if any, chance of ever enjoying in any capacity other than that of "the ideal servant" (101).(4) In the absence of alternate images which might validate and endorse a kind of virtue not tied to physical beauty or ones offering competing definitions of beauty itself, and in the absence of a network of family and friends, especially women friends, whose own lives would provide a differing model and the context in which to erect her own, Pauline succumbs to the "simple pleasure" of "black-and-white images projected through a ray of light" and "curtailing freedom in every way" (97).