These standards and feelings of rejection were the qualities that Pecola inherited from Pauline. Her mother, from her birth, placed upon her the same shroud of shame, loneliness, and inadequacy. More significantly, just as in the Whitcomb dynasty, the Breedloves as a whole were at one point described by the narrator as one distressing unit. They were unified in their acceptance of the mantle of unexplained ugliness, shame, and social dysfunctionality. The narrator told the reader that "No one could have convinced them that they were not relentlessly and aggressively ugly.You looked at them and wondered why they were so ugly; you looked closely and could not find the source. Then you realized that it came from conviction, their conviction.And they took the ugliness in their hands, threw it as a mantle over them, and went about the world with it. Dealing with it each according to his own way". (Morrison, 39) .

             This cycle of rejection was developed further in the metaphors that Morrison used throughout the novel. Nature was a recurring theme in the story and played an important role in answering why Pecola was rejected. Claudia, the novel's narrator, and her sister Frieda, in their pre-adolescent mindsets could not completely understand why things happened as they did to Pecola. However, what they did know was stated in the beginning of the novel: that "there were no marigolds in the fall of 1941" (Morrison, 9), the seeds of hope they themselves planted had shriveled and died, just like Pecola and Cholly's baby. Morrison reiterated this simplistic alignment of Pecola"s life with occurrences in nature as a means of understanding throughout the novel. She established nature as an important factor in life's experiences by incorporating it into the structure of her novel. .

             Instead of conventional chapters and sections, The Bluest Eye was broken up into seasons-Fall, Winter, Spring, and Summer.