The Childish Longing for Protection and Belonging
There was only knowing that she must find somebody, anybody,
that she could join with to go away. For now she admitted
she was too scared to go into the world alone.
The Member of the Wedding
In her unfinished autobiography McCullers tells of an incident in June 1940 shortly after she had moved to New York with the money that Houghton Mifflin paid her for the publication of her story “The Heart” (and anticipating payment for her soon-to-be-published first novel). She had long been desperate to move out of the squalid one-family house she and her husband Reeves McCullers shared with eight other people in Charlotte. But their marriage was already in such a state that when the good news came, instead of going together, Reeves accepted an invitation to sail with a friend to Nantucket, while Carson rode to New York alone on a bus. She took lodging in a cheap boarding house on the West Side and was still there when The Heart is a Lonely Hunter was published on June 4.
That month her editor at Houghton Mifflin telegrammed her an invitation to lunch at the Bedford Hotel. Pleased to finally enjoy a social occasion she bought a new dress just for the meeting. As it happened, staying at the same hotel was Erika Mann (Thomas Mann’s eldest daughter, to whom McCullers had written requesting an interview in connection with a story she planned about a Jew from Germany). After lunch, while McCullers was in Mann’s room, Annemarie Clarac-Schwarzenbach entered. McCullers neither knew the Swiss heiress and literary dilettante, nor was she expecting her. But that day would begin an intense (but not sexual, at least not consummated, according to McCullers) short-term intimacy between the southern precocious naif in a failing marriage and the liberated, world-traveling gay sophisticate who had been addicted to morphine since she was 18. The relationship would survive Reeves’s abusive jealousy, Carson’s excessive dependence, Annemarie’s commitments to asylum’s and suicide attempt and even the latter’s escape first to Africa and then to Switzerland. (Reflections in a Golden Eye is dedicated to Clarac-Schwarzenbach, and Clarac-Schwarzenbach was planning to translate it.) Switzerland is where she died, however, in a bicycle accident on a mountainside. But what is important for this discussion is not the subsecquent relationship, but simply is the very moment the two met. McCullers describes it as something like an emotional singularity. “She had a face that I knew would haunt me to the end of my life, beautiful, blonde, with straight short hair. There was a look of suffering on her face that I could not define.” She immediately thought of Prince Myshkin’s experience meeting Nastasya Filippovna in Dostoevsky’s The Idiot—which brought him a sensation of “terror, pity and love.”1
A moment like that, filled with the agitation of intense emotional excitement together with the vague suspicion of its potential for chaos and ruin, is at the heart of McCullers’s fourth novel.
The Member of the Wedding (1946)
19442 was a disruptive year for 12-year-old Frankie (Frances) Addams. Her best friend had moved away to Florida. Her slightly older friends would not let her join the club they formed. “She belonged to no club and was a member of nothing in the world.” She was growing at an alarming rate. And she had become a criminal after she stole a three-way knife from the Sears and Roebuck. But that was not all. She took her father’s pistol and shot it in an empty lot. She committed a “secret sin” with Barney MacKean in his parents’ garage, and she hated him for it and wanted to kill him. These things made her afraid, first of the law, and then of her father, and then of not belonging to anything. The summer was lonesome and hot. “Every day she wanted more and more to leave the town to light out for South America or Hollywood or New York City. But although she packed her suitcase many times, she could never decide on which of these places she might go, or how she would get there by herself.” So she spent her time hanging around the kitchen and being “too mean to live.”
We learn all these things from the narrator, who tells them in desultory manner, merely as background to what takes place mainly during a three-day period in August and its aftermath seen on one afternoon three months later. And mostly what takes place happens around a cheap table in a kitchen whose walls are marred by the drawings of children and inside one of those walls we occasionally hear the scratchings of a rat.
At this table are always the same three characters. In addition to Frankie, there is the African-American cook/housekeeper, Berenice Sadie Brown, and Frankie’s six-year-old cousin, John Henry West. This trio is very similar to one we encountered in The Heart is a Lonely Hunter. One of the five main characters in McCullers’s first novel, 14-year-old Mick Kelly, occasionally is found in the kitchen with her younger brother, George (“Bubber”) Kelly, and the black cook, Portia Copeland. Mick and Frankie, though two years apart in age, are somewhat alike. Both have some creative inclinations: Mick is obsessed with music; Frankie, though she gave it up that summer, used to write “shows” that were performed under a tree outside. (Carson McCullers herself, when she was a child in Georgia, studied piano and wrote plays that her siblings performed for the family.) Both had unpleasant first sexual encounters (although Frankie reacted much more violently than Mick). Both are out-of-sorts, trying to figure out how they fit into the world. Both long to travel north, to see snow, and to become famous and important. Bubber Kelly and John Henry both look up to the young protagonists, and while they both play important roles in the plot at the end, their roles before then are quite limited, not much more than accessories. The two cooks are also very similar. Both are something like a mother or older sister substitute. In the first novel Mick’s mother is too busy running the boarding house to have much interaction with her and her older sisters ignore her; in the second Frankie’s mother had died in childbirth and Frankie is an only child. Both cooks have experience with marriage. Portia is currently married to Honeyboy, whose involvement in the plot is so limited that we never know his last name. Berenice has been married four times; the first time to a loving and respectful man, Ludie Freeman, who treated her well. He once bought her a fox fur stole, which she still had. He took her to Cincinnati where they saw snow and where they lived for nine months. Ludie made a decent living there as a brick mason. (Note his name and the place Berenice keeps returning to in her memories. Frankie is not the only one who is confined in Georgia.) The rest of Berenice’s husbands were one worse than the other, as she puts it. The last one put out her eye, and now she wears an odd blue glass eye. In both cases the cooks provide the conservative, common sense, “adult” point of view. Portia is more grounded in mainstream religion (the gospel of submission as her father sees it). Berenice relies on known sayings to guide her life, and she is less mature and accepting than Portia. She is often combative and frequently butts heads with Frankie. The two also spend Sunday evenings dressed in their finest, promenading about town with two men: in Portia’s case her husband Honeyboy and her brother; in Berenice’s her gentleman caller, T.T. Williams (the owner of a restaurant but “he and me is just good friends,” Berenice says), and her brother Honey. In both cases the brother becomess caught up in the racist legal system.
The points of comparison are true but largely irrelevant because The Member of the Wedding is not a narrative in the way The Heart is a Lonely Hunter is but rather, in essence, something like a philosophic dialogue. But unlike, say, Hume or Berkeley, the dialogue is not built on a scaffold of intellectual steps. Nor is it even like the overheated set piece dialogues throughout Dostoevsky’s major novels. At times it reaches for Buber’s idea that dialogue confers meaning by uniting the participants into one,3 but at others it descends to talking over each other’s head as in Chekhov’s plays or even into outright outbursts or altercations. MacDowell describes this dialogues thus:
“When Frankie and Berenice talk philosophically and with deep emotion, one sometimes hears dynamic dialogue as the women clash with each other and alternately reveal the anger and the tenderness they feel for each other. More often, however, one hears a rising antiphony in which one woman speaks, the other speaks in a contrasting tone, and finally the two join to achieve unified utterance, sometimes revealing a deep accord, sometimes a frustrating inability to communicate. In these antiphonal scenes, the two women do not necessarily speak to each other or to John Henry. Rather each speaks aloud to herself or to a vaguely conceived and undefined audience, which may or may not include he other two people present.”4
McCullers herself described the contributions of the three participants as “fugue-like parts.”5 (She was discussing the work as it had been translated by her into a play that had a long run on Broadway, but the approach to the dialogue was the same.) By that I think she meant that, as with a fugue, the two (and sometimes three) voices sometimes create a harmony, sometimes are heard in unison, frequently produce counterpoint and at some points create a cacaphony. Where the metaphor fails, however, is that the two (or more) statements made by the voices in a musical fugue are essentially the same (with certain changes permitted by the rules of fugal writing) simply begun at different times. So in a fugue the effects created by the different voices are inherent in the statement itself when played against different parts of itself. But that’s not how the dialogue worked in this novel (or the later play).
The points of view of Frankie and Berenice are diametrically opposite. Most of the attention of the story is on Frankie so the novel is often described as being “about” alienation, specifically adolescent alienation. While it is certainly true that Frankie is out-of-sorts and that she is constantly brooding about how she doesn’t belong or is unconnected to the world, Berenice has the opposite complaint. She believes she is fixed by the racist structure of society, trapped in her position and cares and wishing only to “burst free.” She doesn’t reveal this to Frankie at first, but it informs all of her advice to her and also all of her criticisms and disparagements of her. But until the last Friday in August, the two just talked past each other “their voices saw against each other, saying the same words,” as this conversation when Frankie’s cat ran away:
“‘If only I just knew where he has gone.’
“‘Quit worrying yourself about that old alley cat. I done told you he ain’t coming back.’
“‘Charles is not alley He is almost pure Persian.’
“‘Persian as I is,’ Bernice would say. ‘You seen the last of that old tomcat. He gone off to hunt a friend.’
“‘To hunt a friend?’
“‘Why, certainy. He roamed off to find himself a lady-friend.’
“‘You really think so?’
“‘Well, why don’t he bring his friend home with him. He ought to know I would be only too glad to have a whole family of cats.’
“‘You seen the last of that old alley cat.’
“‘If only I just knew where he is gone.'”
And then on that last Friday6 in August that ends Frankie’s “scared Spring” and her “green and crazy summer,” Frankie’s brother, Jasper, who had been serving in the U.S. armed forces in Alaska, came home on leave and brought with him his fiancée, Janice, who lived in Winter Hill, 100 miles away. They stayed for lunch, brought Frankie’s father a bottle of liquor and Frankie a china doll, invited the two to the wedding to be held on Sunday in Winter Hill and then returned by train. Frankie had not expected much (except a present from Alaska) when she heard they were coming, but when she saw them, she was transfixed. As she was coming into the living room she first was startled by the quiet, for Jarvis had turned off the radio in the kitchen which had been playing all summer, night and day, providing a background noise of sweet jazz and war news that everyone had grown accustomed to. When she saw the betrotheds, however, she received another, bigger surprise: “She stood in the doorway, coming from the hall, and the first sight of her brother and the bride had shocked her heart. Together they made in her this feeling that she could not name. But it was like the feelings of the spring, only more sudden and more sharp. There was the same tightness and in the same queer way she was afraid.” It was the same emotion that McCullers herself describes erupted in her when she met Annemarie Clarac-Schwarzenbach.7 This moment would animate the next two days with meaning and terror.
After the couple left to return to Winter Hill, Frankie would brood about the encounter. As the trio played cards at the kitchen table, Frankie repeatedly asked Berenice for her impressions of the couple and her conduct. Berenice at first teased her sarcastically by saying she was “jealous” of her brother. But Frankie could not let it go. All afternoon she returned to the subject until Berenice, out frustration or spite, taunted her by repeatedly saying “Frankie got a crush! Frankie got a crush! … On the Wedd-ing!” Unable to take the mockery Frankie picked up a kitchen knife, much alarming Berenice, but she again taunted Frankie into throwing it. “The empty house seemed to be waiting. And then there was the knife whistle in the air and the sound the blade made when it struck. The knife hit the middle of the stairway door and shivered there. She watched the knife until it did not shiver any longer.” The act calmed Frankie, but Berenice could not let the hostility end. “You are not fit to live in a house.” And here Frankie revealed a resolve instantaneously formed at that moment by instinct. “I won’t be living in this one much longer.” Berenice again scoffed at her, asking where she was going. Frankie replied with a sudden resolve: “I’m going to Winter Hill. I’m going to the wedding. And I swear to Jesus by my two eyes I’m never coming back her any more.” The seriousness, and suddenness, of this resolve, is emphatic.
“She had not been sure that she would throw the knife until it struck and shivered on the stairway door. And she had not known that she would say these words until already they were spoken. The swear was like the sudden knife; she felt it strike in her and tremble. Then when the words were quiet, she said again:
“‘After the wedding I’m not coming back.'”
One of the remarkable talents of McCullers is her ability to show the inner world of a character by his actions. Not simply by a single act but by a pattern or sequence or repeating motif. What her characters think is usually revealed, even to them, in what they do. (This insight is consistent with, as I understand them, current neurological findings.) This is not an adolescent trait, but rather she applies it to all alike. It is perhaps one reason that some critics have called her work “clinical” or “cold” or her characters “freaks” or “unrealistic.” Like everyone else book reviewers and literary critics react to challenges by denying their validity.
Once Frankie articulates the way she intends to resolve the conflict that has been building within her, she experiences great relief. She now understands “connectedness.” The same sense of belonging that she sees others have, she now finds in her connection to her brother’s marriage. The betrotheds are, as she puts it, “the we of me.” When she joins the marriage she will be complete. The thought grew within her all night, even after Berenice left, until it became a twin certainty within her—a certainty that it would happen and a certain that it was meant to happen. “At last she knew just who she was and understood where she was going. She loved her brother and the bride and she was a member of the wedding. The three of them would go into the world and they would always be together. And finally, after the sacred spring and the crazy summer, she was no more afraid.”
Like all who discover the thing that truly completes them (whether it is god or ideology or movements or a lover or the Truth), Frankie became an immediate enthusiast. And all enthusiasts become evangelists.8 So Saturday, the day before the wedding, Frankie ventured into the town, not circumspect and quiet like she used to, but with a new confidence and, more importantly, a desire to tell everyone of her new determination. And like many who have begun a new life after a revelation, Frankie took on a new name. She now called herself F. Jasmine, so that she could share the Ja- of Jarvis and Janis. Everything about her and everything around her was new.
Her day began with her father at breakfast. She no longer felt the resentment that began last spring; she even felt tenderness towards him, for she realized he would be lonely without her. Outside, the children foolishly trying to dig a swimming pool (whom she no longer led during this year of dissatisfaction) awakened in her a sense of nostalgia, as did the scattered evidences of her childhood which she regarded with the eye of one who would never see them again. When she reached town, her view of the place was not now colored by her desperate desire to escape. Instead, as though she were a traveller who stopped in this one town for only a day, she took in everything with much interest. She was especially attracted to the people. She looked at them directly in their eyes. And with everyone she felt a “connection.” She wanted to tell each of them how she was about to be a member of the wedding. And she went looking for people to tell, from the Portuguese manager of the Blue Moon (the seedy bar/flophouse that catered mostly to the servicemen from the army base nine miles outside of town) to a man operating a tractor as part of a crew laying tar on a road, who she ran along side of, cupping her hand around her mouth ro amplify her voice over the noise of the tractor. No one disputed her claims. Indeed, no one seemed to have much of a response at all. All of this F. Jasmine took as confirmation of her membership and the proof of her connection.
By mid-day she circled back to her father’s shop near the Blue Moon Café, where she learned that John Henry’s great-uncle Charles had died. Since his death had nothing to do with the wedding (he was not a blood relation of her or her father), she gave it no thought beyond expressing the pity of it. More importantly, she got permission from her father to buy a wedding outfit, although it was at the local clothing store where he had a credit line. Having to buy a wedding dress at a cheap local store annoyed her, but it was a minor annoyance all things considered.
On leaving her father’s shop, F. Jasmine heard the sounds of the monkey man whom she had not seen all summer. She went to find him for it would be her last visit with the man and his darling monkey, both of whom she had grown fond of over the years. But when she located him, a soldier was quarreling with him and shoving a fist full of money his way. He was evidently trying to buy the monkey, who was cowering on the ground away from both. F.. Jasmine came closer, and the monkey quickly climbed up her and perched on her shoulder where the monkey man was able to snatch him and disappear, leaving F. Jasmine alone with the soldier. After an awkward exchange the drunken soldier led the bewildered but intrigued 12-year-old back to the Blue Moon Café, where he bought her a beer and persuaded her to return at nine that night so that they could go dancing. On the way home, after buying her wedding dress, F. Jasmine passed an alley. Out of the corner of her eye she glanced a “half-seen thing”—an apparition of her brother and his fiancée. It was an alarmingly real image, so much so that she had to slowly turn around to look again, even though she knew that the two were 100 miles away. But when she brought herself to look, she saw nothing except two “colored boys,” one with his arm on the other’s shoulder. It surprised her, and she contemplated it the whole way home.
Once home, John Henry and Berenice were in the kitchen and informed her they also would be attending the wedding because John Henry’s parents had to make arrangements for Uncle Charles’s funeral. That his new arrangement might encroach upon F. Jasmine’s wedding caused her to display her annoyance, which set off another round of hostile exchanges. Berenice grilled her about her morning, then belittled her not only for her plans but mostly for telling strangers about them. F. Jasmine had wanted to tell Berenice about the soldier, but each time she was about to begin, something warned her off. The exchange reached a climax when Berenice demanded to know what she would do if the couple refused her. She would kill herself, F. Jasmine said defiantly, with her father’s pistol.
At dinner the conversation took on a different tone. Berenice began something like an ode to love, or at least the virtues of having a beau. F. Jasmine for the first time listened to such a talk. Previously she had never believed in love. But she balked when Berenice turned the conversation to F. Jasmine having a beau, particularly Barney MacKean. But with fits and starts, interrupted by the unresolved scales of a piano tuner in the distance, they eventually transcended the particular and began talking not only about universals but also to each other. Berenice told of her vision for a better world—one where there were no colored race, where everyone was the same and one family; a world where there was no war, no bodies hanging from trees and no armies of young people leaving in uniforms; and no hunger. “No killed Jews and no hurt colored people. No war and no hunger in the world. And finally, Ludie Freeman would be alive.” F. Jasmine and John Henry added their fine tuning. Then F. Jasmine told of her apparition which turned out to be two boys in an alley. This launched Berenice into a narrative of how each of her husbands was introduced by a similar apparition out of the corner of her eye, like Frankie’s. What she wanted Frankie to learn was that this all came from inside: “I loved Ludie and he was the first man I loved. Therefore, I had to go and copy myself forever afterward.” F. Jasmine lingered in the doorway, because she knew this would be the last conversation they would in the kitchen, or perhaps anywhere. Yet she could not express what troubled her and what her aspirations were. Instead, she began marching about and speaking in a jumbled way, “but they were the wrong words, not what she had meant to say.” Berenice grabbed her and pulled her onto her lap and then began the last “queer conversation”:
“We are all of us somehow caught. We born this way or that way and we don’t know why. But we caught anyhow. I born Berenice. You born Frankie. John Henry born John Henry. And maybe we wants to widen and burst free. But no matter what we do we still caught. Me is me and you is you and he is he. We each one of us somehow caught all by ourself.”
She explained how she, as a black woman, was especially trapped. She was caught like everyone else and “they down drawn completely extra bounds around all coloured people.” But the problem is universal:
“The point is that we all caught. And we try in one way or another to widen ourself free. For instance, me and Ludie. When I was with Ludie, I didn’t feel so caught. But then Ludie died. We go around trying one thing or another, but we caught anyhow.”
The conversation made F. Jasmine “almost afraid.” John Henry needed comfort as well and tried to hang onto Berenice from the back of the chair. F. Jasmine saod that when she looked at people she saw them “loose” and while that is almost the opposite of “caught,” she said they meant the same thing. “I mean you don’t see what joins them up together.” She agreed with Berenice that there was birth and death, but “what is it all about? People loose and at the same time caught. Caught and loose. All these people and you don’t know what joins them up. There’s bound to be some sort of reason and connection. Yet somehow I can’t seem to name it. I don’t know.” There was silence for a few moments. Then F. Jasmine uttered what was on her mind while they were all close together, touching, for the very last time: “Here we are—right now. This very minute. Now. But while we’re talking right now, this minute is passing. and it will never come again. Never in all the world.” And a moment later all three began to cry.
And that was the last of their kitchen conversations.
The final fifth of the book follows the transformation from F. Jasmine to Frances during the approximately 30 hours from Saturday evening to early Monday morning with a final view of the result one afternoon in October. Unlike the rest of the novel, this is not an exploration of her interior monologue, for she does not engage in introspective thoughts. Since she has finally begun to act, she is forced to make decisions not based on rational plans, but rather by improvisation, because she never considered things realistically, never considered what others might do or thing, never doubted for a moment that her impulsive desire would come to fruition and solve all the unresolved longings and conflicts that buffeted her.
The night began with a trip to Sugarville, where Berenice’s mother, Big Mama, and her brother, Honey, lived. F. Jasmine would ask for Big Mama to tell her fortune by reading her palm. John Henry tagged along, wearing one of the costumes F. Jasmine had given him (because she would no longer need childish things). They passed the penitentiary, and John Henry heckled a prisoner looking out from behind his barred window. When they arrived F. Jasmine made John Henry wait outdoors, while she heard the fortune she only half believed. Outside again they talked to Honey as he was on his was to Forks Falls and his own destiny. When F. Jasmine reached the town again, she made John Henry go home. But “as she watched him going away from her down the crowded street, she felt a hollow sorriness—he looked so babyish and pitiful in the costume.”
Then came her encounter with the soldier, which proved a formidable challenge to her self-reliance and left her terrified of the consequences. Then the next day brought the tedious bus ride to Winter Hill, the prelude to the wedding where she was treated as an inconsequential child, the wedding itself, which she finally ruined, the miserable bus ride home, and then the fulfillment of the threat, when she set off at night with her father’s pistol. It will end again at the Blue Moon.
These scenes contain a sense of terror and humiliation that often mark plot turns or character revelations in Dostoevsky, but McCullers employs none of the melodrama. Her writing is perfectly measured and expository. In fact, when something surprising takes place anywhere in the novel, the narrator will take pains to explain it or relate it to something more ordinary. We are not to take any of it as out of the ordinary, much less entertaining; it is all simply more scenes of the human comedy.
Three months later we see Berenice and Frances (as she now is) in the late afternoon. Everything has changed. The kitchen has been painted over, and the furniture, except for the kitchen, is gone, because Frances and her father are to move the next day. Berenice will not be going because she has decided to marry T.T. But there is another reason—Berenice has been inalterably changed. She has seen John Henry die in great agony from meningitis in the course of a week. She is haunted by the last thing she said to him that he understand: “Run along for I don’t have the patience to fool with you.” She said it because she had a headache, and John Henry said he had one too, but she thought he was simply imitating her.
Berenice helped the nurse with him every day, as he was dying, and she couldn’t bear it. “‘I don’t see why he has to suffer so,’ Berenice would say: and the word suffer was one she could not associate with John Henry, a word she shrank from as before an unknown hollow of the heart.” Around the same time Honey was arrested. He was now on a chain gang sentenced to eight years. And so Berenice became smaller, less assured. She was sitting in a chair wearing an old raveled sweater with her fox fur in her lap. Frances was busily making fancy sandwiches for her new friend, Mary Littlejohn. They met in the middle of October when the troubles with John Henry and Honey were going on. In fact, they went to the Fair the week that John Henry was in the midst of his ultimate agony. The two were now obsessed with art and poetry, and they planned to travel the world together when Frances was 16. “I am just mad about Michelangelo,” Frances would say. Frances suspected that Berenice did not like Mary, because she had long braided hair, because she was Catholic. So Frances used the words that were designed to hurt: “You could not possibly understand her. It’s not in you.” Berenice no longer challenged Frances.
And so we see how Frances has become, after the wedding (which she never spoke of again), and it is something of a surprise. What we have been through was not a Bildungsroman, however much we expected it to be. It fact Frankie Addams is one of the more unusual children in Western literature. Dickens established the customary way children were used in literature. They are essentially guileless, innocent receptacles who need nothing more than protection. They have only potential and are empty of the selfishness, cruelty and greediness which is only acquired later in life. They are, in short, the only representatives who truly constitute Rousseau’s man in the state of nature. This portrayal, especially if uniformly rendered, make children the perfect vehicle for exciting emotions of empathy from the reader. Even in Dostoevsky, children are almost always innocent, and so when an ultimate outrage is to be depicted, it is perpetrated on children (consider the crime in Stavrogin’s confession), or when the utter baseness of corruption is needed, it is a child who is corrupted (for example, Kolya). That is how McCullers treats John Henry. Entirely innocent, he seems to have no trace of cunning, duplicity or deceipt about him. He is unerringly loyal to Frankie. When she tells him that her former frineds had spread the rumor that she smelled bad, he hugged her and said, “You smell sweet. … Like a hundred flowers.” He seems to not resent the numerous insults, put downs or malice she hurls at him. He is an undemanding font of love.
McCullers uses this same ingrained presumption to reveal a truth in Frankie—that even a child is fundamentally selfish, indifferent to others and unfazed by the tragedies around him. Frankie’s dream of fulfillment is fundamentally self-absorbed and self-delusional. Those two aspects are what doom her plan.
And it is there that we see a hint that this behavior of Frankie is not simply a case of adolescent immaturity. There is one metaphor that recurs throughout the novel—that of moths and butterflies. These insects are of course the prime example of metamorphosis in nature. Each transform into an adult from a larva through a pupa stage. From the beginning we are teased with the prospect that the story will be transformative. Frankie seems to hope for it: “I wish I was somebody else except me.” The first time we see the insects, they are moths attracted by the lamp in Frankie’s room. John Henry says: “Those beautiful butterflies. They are trying to get in.” Frankie associates their plight with her own: “To me it is the irony of fate. The way they come here. Those moths could fly anywhere. Yet they keep hanging around the windows of this house.” After she writes the run-away note addressed to her father (which she signs “Sincerely yours”), the “green and white moths were nervous at the window screen and the night outside was queer.”
Butterflies are associated with adult skillfulness. Frankie notices her father’s hands (the hands of a jeweler) hover over tiny watches “as carefully as butterflies.” And Honey, who was an educated and articulate person, forced by racism beneath his station, was able to talk like an educated person, with lips “as light as butterflies.” But at other times, when weighed down with oppression, he would only talk “with a colored jumble that even his own family could not follow.”
But butterflies did not signify metamorphosis. They did not even associate themselves with the joy that John Henry saw in them, for the day of his death was “a golden morning of the most butterflies, the clearest sky.” He gradually recedes in the mind of Frankie, until he is barely thought of except “occasionally at twilight time or when the special hush would come into the room.” Instead Frances’s search for “we-ness” is directed towards Mary Littlejohn and their planned trip around the world. Although the object has changed, Frances’s essential idea of what would complete her (partnership with another and escape from her present environs) remains the same.
It is worth pointing out here that McCullers does not solely rely on literary techniques like metaphors to create a juvenile or immature worldview. It is inherent in all the narrative. Not only does she have a superb ability to capture the manner of speech of the characters, including the children (without making them sound oddly foreign, as is often the case in Mark Twain’s stories). But she was also able to reveal the point of view in the voice of the narrator and the manner of narration (without having the narrator adopt the child’s voice). Descriptions of things visible is a perfect example. For example, when F. Jasmine thinks of the monkey man and his animal as she remembers him from past summers, the narrators describes him as follows:
“The old Frankie had always loved the monkey and the monkey-man. They resembled each other—they both had an anxious, questioning expression, as though they wondered every minute if what they did was wrong. The monkey, in fact, was nearly always wrong; after he danced to the organ tune, he was supposed to take off his darling little cap and pass it around to the audience, but likely as not he would get mixed up and bow and reach out his cap to the monkey-man, and not the audience. And the monkey-man would plead with him, and finally begin to chatter and fuss. When he would make as if to slap the monkey, the monkey would cringe down and chatter also—and they would look at each other with the same scared exasperation, their wrinkled faces very sad. After watching them a long time, the old Frankie fascinated, began to take on the same expression as she followed them around.”
The description manifests the kind of close attention that a child would have for the monkey and his keeper. By depicting the details of the monkey’s behavior that would most amuse a child it describes the viewer as much as what is being viewed.
Another example is the representation of what Frankie saw when she looked into the bedroom of the dying Uncle Charles:
“He looked like an old man carved in brown wood and covered with a sheet. Only his eyes had moved, and they were like blue jelly, and she had felt they might come out from the sockets and roll like blue wet jelly down his stiff face. She had stood in the doorway staring at him—then tiptoed away, afraid. They finally made out that he complained the sun shone the wrong way through the window, but that was not the thing that hurt him so. And it was death.”
In this case, the child focuses on the frightening aspect of the dying man’s appearance. An adult would more likely sympathize with the fate than a child. And for Frankie death really is simply something that appears in dreams to frighten her.
McCullers’s ability to convey something close to a non-idealized, but still sympatheic, view of childhood and adolescence is not simply a matter of autobiographical recollection. Although she did not create a large body of short stories, by the time she wrote The Member of the Wedding, she had written a handful that dealt with children. In each of them, McCullers has the child dealing with a problem of adult perplexity. And instead of treating the child as solely (or even largely) a receptacle for adult sympathy, she sees the problem through the child’s point of view, and by doing so she brings the adult reader into complete empathy with the child, even when the child is acting selfishly or immaturely. “Breath for the Sky” is an example. That story treats the condition of a child with a serious lung infection (possibly tuberculosis) who is about to be sent to a sanitarium 300 miles away. She struggles with her resentment of her family, who seem to be enjoying their lives despite her sickness, and her hatred for her nurse. “Wunderkind” tells of a 15-year-old girl who was once proclaimed a musical prodigy who has come to grips with the fact that she has been defeated in her quest to be a concert pianist. “The Haunted Boy” tells of a boy who having experienced the attempted suicide of his mother comes home to an unexpectedly empty house. His terror turns to fury when his mother returns unharmed. These stories treat children as agents fully capable of facing the crises before them and also responsible for their choices. It is this view of children that makes them fit subjects on their own for serious literature.
Frances in the end is also responsible for her choice, however much she fails to live up to our own expectations of how she should have acted. It is quite true that she has been given limited options in life, and that, like Mick Kelly, she will probably be forced to give up and expect the confined existence of a backward Georgia mill town. After all, Berenice, who in the ends proves capable of deep empathy and heroic efforts, ends up having to settle for a life below her expectations. Frances still pursues a dream that is inherently incapable of fulfillment, but to do so she ignores the suffering of Berenice and John Henry, the only two who showed her any real affectionate regard, despite her poor treatment of them.
So how does this all related to McCullers’s “One Big Idea” that we began this series with? By probing how this adolescent attempts to account for what seems an existential void at the center of life, McCullers makes several points. First, meaning is not the same thing as gratification of self-love. The latter can never be obtained or if once tasted is soon lost (as Berenice testifies). Second, a person does not achieve his “true purpose” at the expense of others. Finally, the more frequent metamorphosis is not one where a childish wish matures into a noble purpose but rather one where a person uses self-delusion to settle for what is convenient.
McCullers would only publish one more novel during her life and that would be 15 years after The Member of the Wedding. In the last post on this series, we’ll look at that novel and see what generalizations we can make about her fiction.
1Carlos L. Dews (ed.), Illumination and Night Glare: The Unfinished Auobiography of Carson McCullers (Madison: University of Wisconsin Press, 1999), p. 21. To call this work “unfinished” gives the impression that it is at at stage of completion that it had yet to achieve. In fact, it is a collection of drafts of incidents without any organizing principle (not even chronological). Basic facts are omitted, and scenes that seem to describe specific incidents often cover longer periods collapsed by dropping details and sequences. It is frequently difficult to tell how one paragraph is supposed to relate to what precedes or follows it. It has none of the direct and simple eloquence that her published prose shows. In other words it is not particularly rewarding in its own right. It would have taken much more work to turn into something that could be published, and the editor of this edition does very little by way of notes or explanations to render the manuscript very useful. It does, however, contain interesting photographs from the Photography Collection of the University of Texas, which has a collection of McCullers’s papers. [Return to text.]
2The year is never specifically stated in the novel but can be deduced from events heard on the radio (citizens chasing Germans from Paris, Patton marching across Europe). Given the year, the novel begins on August 25, 1944 (“the last Friday of August.”) This is confirmed when we learn that Frankie was born the same month that Berenice’s first husband died, November 1931. When Frankie, in figuring how fast she is growing, considers that she is “twelve and five-sixths years old,” it shows that it is August 1944. [Return to text.]
3Buber’s Ich und du was translated as I and Thou and published in New York in 1937. The concept of existential dialogue had become familiar among New York intellectuals by the time McCullers had arrived there. [Return to text.]
4Margaret B. McDowell, Carson McCullers (Boston: Twayne Publishers, 1980), p. 87. [Return to text.]
5Carson McCullers, “The Vision Shared,” in The Mortgaged Heart ed. by Margarita G. Smith (Boston: Houghton Mifflin, 1971), pp. 262–65. This essay was originally published in Theatre Arts (April 1950). The paperback edition was published by Bantam in 1972, and this essays is found on pp. 297–300 with the quoted passage on p. 300. [Return to text.]
6There is a curious chronological mistake (as far as I can tell) that has greatly bothered me, enough to look at several editions of the novel to see if it was simply a typographical mistake, but all editions (including the first) that I consulted have it, and I cannot account for it. The mistake is that in the first two pages of the novel, it is made clear that the day is “the last Friday of August” and that as Bernice recounted, “Your brother come home with the girl he means to marry and took dinner today with you and your Daddy.” And yet several pages before the end of the first part, the narrator says: “So that Sunday when it happened, when her brother and the bride came to the house …” The latter cannot be a simple printer’s error, because it is the day that Berenice “changed into her Sunday clothes” and goes out with her brother and beau on her night off, Sunday night. Nor can it be a mistake that the novel sets the arrival of the brother and his fiancée on Friday, for it is on that day that Frankie makes her decision, which sets in motion what takes place the next day, Saturday, the day before the wedding, which is the subject of Part II. What makes this oversight hard to explain is that this novel was worked over by McCullers herself to convert it into a play, and surely she must have noticed this problem. Perhaps there is some other explanation, but if so, I cannot see it. [Return to text.]
7In Illumination and Night Glare McCullers describes how she received the “illumination” that Frankie’s reaction to the wedding was the key to the story. In McCullers’s drafts to that point, Frankie “was just a girl in loved with her music teacher, a most banal theme.” On Thanksgiving Day, she and her Harper’s Bazaar editor George Davis hosted a dinner in their house in Brooklyn. That night McCullers and Gyspy Rose Lee stepped outside and “the fresh air after the long, elaborate meal cleared my head and suddenly, breathlessly I said to Gypsy, ‘Frankie is in love with the bride of her brother and wants to join the wedding.'” (p. 32). [Return to text.]
8Enthusiasts, etymologically, have been “inspired” or “inhabited” (en) by a god (theos). The ancient Greeks regarded madness as the immanence of the divine. Evangelists are those who announce (angellos, the same root as “angel,” who are simply divine messengers) the good (news) (eu). [Return to text.]