28 pages • 56 minutes read
Toni Cade BambaraA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Dialect is a particular variety of language that is specific to a social group or region. Bambara uses dialect in her stories and novels to imbue her narratives with authenticity and to give credence to the unique rhythms, culture, and history of African American English. In “Blues Ain’t No Mockin Bird,” the narrator tells the story in her own words, using grammar unique to her spoken voice. Rather than being simple documentation of events, the story is an experiential whole—a personal experience—and it unfolds the way it would if it were spoken aloud, which lends the story realism and depth.
Additionally, that this young girl is the story’s narrator gives her authority over it. White culture has long dominated arguments over grammar and proper English, and by the late 1800s, Black writers began incorporating their dialect into their work as a form of sociolinguistic commentary on cultural and racial issues. Their stories’ use of dialect not only provided realism but also showed resistance to the pressures of the dominant, white culture, and used subversive voices to affirm experiences that fell outside white ideals. Through her authentic young narrator, Bambara demonstrates that a complex, meaningful story can be told in its own way.
An anecdote is a brief story, real or fictional, told to illustrate an idea. At least three times throughout the story, a character tells or says they will tell a story—and those stories have a “point,” whether explicit or implicit. Granny doesn’t explicitly tell the children why she doesn’t want the men on her property; instead, she tells the story of the man on the bridge. From this, it can be inferred that Granny has seen for herself how the camera steals humanity and that she wants the children to understand that as well. Cathy is then moved to tell her own story, “[a]bout this lady Goldilocks who barged into a house that wasn’t even hers” (132). She, too, understands that the men are trespassing, but she sees it the way a child would: The men are barging in, without a care for what belongs to whom.
Anecdotes, as a literary device, highlight a motif of storytelling. At the end of the story, Cathy says she will one day write a story “about the proper use for the hammer” (136), indicating that, like Granny, she’s witnessed something that has made an impression, and one day she’ll be able to tell that story in order to illustrate its meaning.
That the story is told from a child’s point of view allows for a more comprehensive view of what is unfolding. The child doesn’t yet have Granny’s cynicism or Granddaddy’s resigned silence; she doesn’t even have Cathy’s know-it-all bossiness. The child can say what is happening with very little of her own preconceived notions. When she does mention her past experiences, they reveal the layers within the action, as when she reveals that Cathy told her why they’ve had to move so often: because Granny has gone after people for being patronizing, presumptuous, or intrusive. Through this ingenuous narrator can be seen grandparents ravaged by oppression, as well as the hard-won peace that the child, blessedly, takes for granted.
Characterization includes any revelation about a character’s physicality or psychology. There are two kinds of characterization: direct and indirect. With direct characterization, a narrator explicitly tells readers about a character’s traits—as when Bambara’s narrator says Granddaddy Cain is “tall and silent and like a king” (135). In contrast, indirect characterization occurs through implication and inference; for example, though the narrator never outright says the county men are manipulative or condescending, they are indirectly characterized as such through their incessant smiles, speech (addressing Granny as “aunty”), and the discrepancy between their “polite” words and disrespectful behavior.
While “Blues Ain’t No Mockin Bird” uses both forms of characterization, it overwhelming favors indirect characterization, partly because of who the narrator is: She is so childlike and unbiased that she tends to simply observe things rather than make assertions about others’ inner realities, so readers must draw inferences from her surface-level observations. In this case, the narrator herself is indirectly characterized by her refrain from directly characterizing others, a style of narration that indirectly reveals her neutrality and innocence.
By Toni Cade Bambara