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Aibileen will ultimately become the principal interlocutor for the book and will use her moral authority to get Skeeter interviews with Minny and numerous other maids as well. Is it her quest to find the missing Constantine, who has been disappeared from her own family, and who she regards as her real “mother”?Here we might also point out that the history of white, anti-racist women in the South who put their lives and reputations on the line to end Jim Crow is also occluded. Problem #3: What is it, exactly, that motivates Skeeter’s transformation to anti-racism, given that she has never questioned segregation before? Partly, although her view that Constantine her mother is a confusion on that ought to be resolved as she acquires new knowledge from Aidileen and never is.
Its perversion is constituted by the cruelty and emptiness of white women’s emotional life in a heteropatriarchal system where men .
Jim Crow’s harm is, surprisingly, the disruption of proper maternal and filial affections in white families that have been queered by too many mothers and the absence of fathers.
This is an act of matricide that her friends have already completed, a critical life transformation that, the movie argues, is the foundation for white supremacy.
Hence, the central premise of “The Help”: segregation’s perversion is not the color line itself, enforced poverty, political domination or the quiet, everyday violence done to black people in the name of a so-called natural racial order.
Of course, Jim and Jane Crow did private violence too.
It is this private violence — orchestrated, articulated and enforced by white female employers — with which “The Help” is preoccupied.But the overriding reason for Skeeter’s emergence as a class and race traitor is that she is thought by her friends to be an old maid and thus has no need for their approval.In addition, at 22, Skeeter has not yet had a baby, and thus has not yet transitioned from being cared for/”loved” by a Black servant to being dependent on/dominating the same Black servant.Hilly’s racist project, other than humiliating her maid, Minny, at every turn, is to ensure the complete and total separation of the races.She hopes to do this by passing a state ordinance that mandates that all white households have a separate “colored” toilet, banning their Black maids from the family bathroom.Aibileen and Minny, the two principle Black characters, are moved to act because of a personal form of humiliation that stigmatizes their private parts as unclean.Instead, real women like Aibileen and Minny were moved by radical class and race consciousness that wedded them to a social movement designed to relieve Black people of public humiliation, end racial restrictions to the use of public and commercial space and create democracy.White girls, who have good reasons not to love their own mothers, cannot maintain their authority and love anyone once they are grown; hence, adult white women are neither good mothers or good daughters.The evil Hilly, for example, has no children and slaps her own mother in a nursing home for showing disrespect to her racial rule.Banning beloved servants from “the family,” and the failure of Hilly and her friends to demonstrate the love for their former caretakers that she feels for the missing Constantine, causes Skeeter to question racism.It is odd that the rudeness of her white friends to their servants is the catalyst for Skeeter’s redemption, as Mississippi Freedom Summer (three words that are never spoken as a phrase in this film) is, by coincidence, happening just downtown.