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their defeated lives, Morrison demonstrates the process by which self-hatred becomes scapegoating. Pauline’s lame foot makes her pitiable and invisible until she marries Cholly. But pleasure in marriage lasts only until she moves to Ohio and confronts northern standards of physical beauty and style. She is despised by snooty black women. In the movie theaters she seeks relief from these shortcomings through daydreaming of Clark Gable and Jean Harlow, and she turns in the end to Soaphead Church because she is “wholly convinced that if black people were more like white people they would be better off.” (Morrison 76) Eventually Pauline gives up her own family and takes refuge in the Fisher home where she works and where she has what she could not have at home—“power, praise, and luxury.” By the time Pecola finds herself awkwardly standing in the Fisher’s kitchen, responsible for the spilled remains of a freshly baked pie at her feet, Pauline is incapable of showing a mother’s love and forgiveness. Her best response is knocking Pecola to the floor and running to console the crying Fisher child. Though the old good days still come to her mind sometimes, her dream of the mainstream life and her hatred of her own black life gradually draw her far away from her early purity and the black culture. Thus “into her son she beat a loud desire to run away, and into her daughter she beat a fear of growing up, fear of other people, fear of life.”(Morrison 102) In fact, the early life of Pauline in the south is content and happy. She is naive, simple and lives a life with family protection and love. Before Pecola is born, Pauline is determined to cane about and cherish her "no matter what the child is like". (Morrison 89) But her determination is crushed very quickly in the gynecological and obstetrical hospital, where doctors regard her as giving birth to the child as an animal, quick and without pain. Especially, when she arrives the north, she is far away from the old good days, and has abandoned the black culture. Thereupon, she starts in the darkness of movie theaters to pursue false and instinct feeling of happiness. However, on the screen the black image is always the fool, the female servant who is stupid, funny, and sly. Unfortunately, the publicized black image actually strengthens the superior feeling of the whites and the inferiority of the blacks, which leads to his complete identification of the white culture. Then, she begins to spend lot of money on dressing and hairdos, and imitates the way movies stars behave, but only to find that she is in an even more awkward situation in which she encounters more critical eyes and laughter. Accordingly, with desire and frustration, she gradually abandons her family which, to her, seems to be a battle field full of violence and hurts, and transfers her love to the kids of the family where she works as a maid. Finally, during the process of identification, she completely loses her identity, which partly contributes to Pecola’s spiritual disintegration. Like Pauline, Cholly too is driven by personal demons which he attempts to purge in violence against his family. Cholly appears, in the novel, as a bad guy, but behind his disgusting image is a painful experience of being discriminated and humiliated. He is abandoned right after his birth, and he is rejected by his father who is busy with gambling; he is forced to have *** with his girl in the presence of two white men who see them as animals. Hum