54 pages • 1 hour read
Linda Williams JacksonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The title of the novel serves as both a symbol and a motif. When Rose sees Monty for the first time, she describes him as “like [her] […] as dark as midnight without a moon” (103). This imagery impresses upon the reader a sense of what Rose looks like. When Rose describes herself, it is disparagingly, as she laments the deepness of her skin tone and how skinny and gangly she is. She has always been told that she is ugly because of her darker complexion, but Monty becomes the catalyst through which Rose begins to see this feature as an asset and an aspect of her individuality. After Rose and Hallelujah explore the concept of stars shining brightest when the night is darkest, Rose’s attitude begins to shift and she concludes that her darkness will allow her to shine brighter, a central motivation in her decision to remain in Mississippi.
Jet serves as a motif in Midnight Without a Moon. Characteristic of novels with a first-person narrator, information provided to the reader is limited by the scope of Rose’s experience and exposure. Jet is Rose and Hallelujah’s window into the world of Black American culture on a national scale, a source for information and perspectives not available to them in their insular, rural, and restrictive Mississippi community. As Rose and Hallelujah peruse issues of Jet, the reader is granted the opportunity to examine the discrepancies between their own experiences and the way that other Black people live in other parts of the nation. After Emmett is murdered, Jet’s coverage impresses upon them the significance of their state as a battle ground for civil rights and empowers them to see themselves as potential instruments for change. Though she always looks forward to reading Jet, Rose is often discouraged by the prevalence of lighter-skinned Black women as examples of ideal beauty, as these images reinforce many of the colorist prejudices she has internalized. Linda Williams Jackson draws upon direct examples from the Jet Magazine Archives in her descriptions of the articles Rose and Hallelujah read.
The black strap of terror is a strip of leather used by Ma Pearl to lash her grandchildren when she believes they have been disobedient or insubordinate. Rose references this weapon throughout the novel; it looms in her mind as a deterrent as she navigates around her grandmother’s moods and tries to predict her reactions. Ma Pearl does not implement the black strap until the end of the novel, when she confronts Queen about her pregnancy and beats her granddaughter with ferocity despite Queen’s sobbing and pleading. The black strap symbolizes Ma Pearl’s wrath and the power she wields over her grandchildren. It also serves to continue the generational trauma Rose’s family has experienced, as Ma Pearl perpetuates the violence that her parents would have known as enslaved people.
After Emmett Till was murdered, a 70-pound fan was tied around his neck with a length of barbed wire to ensure he would never be discovered in the Tallahatchie River. This act symbolizes the belief system of the men who assassinated him. Insular and antiquated, mid-20th-century Mississippi was home to many white people who committed acts of violation, exploitation, and homicide against Black people and who were rarely, if ever, punished for these transgressions. They were protected by a bureaucratic and social network of others like them who protected them from consequences even if they did not participate in or approve of these actions themselves. That Emmett’s body surfaced despite their efforts to conceal what they had done symbolizes the changes that occurred in the United States in 1955 and the implication that the realities of racial injustice in the south would no longer be hidden from the rest of the world.
It is also symbolic that the perpetrators used a cotton gin fan specifically. Cotton, one of Mississippi’s staple crops, was historically harvested by enslaved people and continued, in 1955, to be harvested by Black people on behalf of white landowners who reaped a disproportionate profit relative to their employees. As Rose fills her cotton sack in the fields, she compares the weight around Emmett’s neck with the 70 pounds of cotton that also serve to weigh her down.
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