The soldiers on the train are first sympathetic and then scornful of Helene when she smiles at the abusive and racist conductor. Nel is ashamed of her mother after seeing the looks in their eyes. Boy Boy although i do have to say, her overreliance on the word "beautiful" as a descriptor for men and boys is grating. eeeevery man is beautiful, which is statistically improbable, and it's also lazy wordsmithing in someone who has proven herself to be much better than that.

Hester is the daughter of one of Hannah’s friends, Valentine or Patsy. In 1922, Hester is grown and out of the house and her mother says that she is not sure that she loves her daughter. Hannah replies with her feelings about loving but not liking Sula. The hovering gray ball This ball appears to Nel, or would have appeared had she allowed herself to look at it. After the appearance of the gray ball, Nel finds she cannot allow herself to let out her personal howl of pain following the loss of Jude and her marriage. She feels the howl coming but it will not come. When she stands up, she believes that it is hovering just to the right of her in the air, just out of view. Eva is generous with her house and her resources. When abandoned and neglected children arrive at her door, she always takes them in. In 1921, three such boys arrive at the Peace household. Eva names them all Dewey, and the boys start to resemble each other, eventually becoming indistinguishable. Another outcast, an alcoholic white mountain man that Eva calls TAR BABY, also comes to live at the Peace residence. They moved toward the ice-cream parlor like tightrope walkers, as thrilled by the possibility of a slip as by the maintenance of tension and balance. The least sideways glance, the merest toe stub, could pitch them into those creamy haunches spread wide with welcome. Somewhere beneath all of t Paul Freeman is one of the boys that Nel remembers as being beautiful in 1921. He has a brother, Jake Freeman. Pearl (Eva Peace)In completing the loop of [a] circle of sorrow, and by emphasizing the plurality of the circles of sorrow, Morrison throws into relief the fact that Sula is metanarrative, a story about stories. These include all of the stories contained within the text of Sula, and as I will argue, a set of foundational texts upon which Sula is written in a kind of postmodern palimpsest” (116). Hannah is Eva’s oldest child and Sula’s mother. After her husband Rekus dies, Hannah has a string of lovers. She is free and easy with her sexuality because, like Eva, she likes maleness and men. She makes the men feel perfect as they are and she is therefore respected by her lovers. She has the attitude that making love to men is a pleasant but unremarkable activity and she does it whenever she feels the need or desire. Two girls who grow up to become women. Two friends who become something worse than enemies. Terrifying, comic and tragic, Sula overflows with love and life, friendship and betrayal. Read more Look Inside Details

Hannah Peace: Sula's mother; Eva's eldest daughter. Hannah is a promiscuous and care-free woman who later burns to death in front of her mother and daughter. Her daughter Sula witnessed the fire but did nothing, while her mother tried to save her by jumping on top of her from her bedroom window. Feminist and Afro-American Literary Criticism have challenged the traditional Western notion of a unified self. Sula…offers us a journey to the epicenter of the human soul, depicting the post-modernist dilemma of multiple incoherent selves” (114).

It’s just as well he left. Soon I would have torn the flesh from his face just to see if I was right about the gold and nobody would have understood that kind of curiosity. They would have believed that I wanted to hurt him just like the little boy who fell down the steps and broke his leg and the people think I pushed him just because I looked at it.” Ralph (Plum) Peace: Sula's uncle; Eva's son and youngest child. Plum was a WWI veteran and a heroin addict. Eva burns him alive with kerosene because of his mental instability. As they reach and achieve maturity, the differences in the girls’ responses to the pressure to conform to the norms of their community separate them and split their bond, which is not reconciled until the end of the novel. Sula confronts issues of loyalty, family, assimilation, innocence, gender, and sexuality, but is at its heart an examination of the priorities that determine the character, quality, and relationships of a woman’s lifetime. SYNOPSIS Part I