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39 pages 1 hour read

Carson McCullers

Reflections in a Golden Eye

Fiction | Novel | Adult | Published in 1941

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Part 1Chapter Summaries & Analyses

Part 1 Summary

The third-person narrator explains that an army post in peacetime is a monotonous place trapped in dull patterns. However, unique events do sometimes happen, and at a Southern army base a few years ago, there was a murder: “The participants of this tragedy were: two officers, a soldier, two women, a Filipino, and a horse” (309).

The soldier is Private Ellgee Williams, and his demeanor and appearance are at once childlike and stealthy. He keeps to himself and has very few discernable emotions or vices. His eyes are “a curious blend of amber and brown” (309).

Private Williams is assigned to clear out some of the woods behind Captain Penderton’s quarters, which are near the quarters of Major Morris Langdon, Penderton’s only other close neighbor; he is also supposed to care for Captain Penderton’s wife’s horse. A year and a half ago, Private Williams accidentally spilled coffee on the Captain’s trousers while serving him refreshments, but when the Captain comes out of his house to give Private Williams instructions, he doesn’t seem to remember the Private. As the Private clears brush and branches, Mrs. Leonora Penderton arrives and tells the Private that Firebird, her horse, has been kicked at the stable. She lingers near the Private, but the two don’t speak further. Shortly afterward, Captain Penderton arrives and scolds Private Williams for cutting the low-hanging limbs of an oak tree.

That evening, the Captain tries to work but is distracted by his irritation at Private Williams. He dislikes the Private because of the coffee incident, which he remembers both because it ruined an expensive suit and because of the Private’s association with Leonora’s horse. To console himself, the Captain briefly imagines court-martialing the Private. The Captain’s edginess is due partly to his unusual temperament, which combines both feminine and masculine “susceptibilities” without the corresponding strengths. He is often attracted to his wife’s lovers. Moreover, “[i]n his balance between the two great instincts, towards life and towards death, the scale was heavily weighted to one side—to death. Because of this the Captain was a coward” (315). Captain Penderton is also brilliant with factual learning and has encyclopedic knowledge, but he lacks the gumption to synthesize any of those facts into new ideas.

As Captain Penderton sits at his desk, he remembers a night long ago when he experienced this same “unhappy restlessness,” shortly after his marriage to Leonora. At the time, he went on a walk and came across a stray kitten, which he took from its warm makeshift home and stuffed into a freezing mailbox. Still at his desk, he hears the door slam downstairs and goes to the kitchen to find his wife Leonora and their servant, Susie. They don’t notice him arrive, and he watches his wife with disgust as she drinks and dances barefoot. When he tells her that going barefoot makes her look slovenly and that they’re having company over soon, Leonora mutinously removes the rest of her clothes as well, standing in front of the fire and then walking naked to the front door and up the stairs. The Captain threatens to kill her; she asks him if he’s ever been dragged onto the street by a naked woman. As she leaves, the Captain is horrified and wonders if anyone outside the house saw her.

The narrative shifts to Leonora’s point of view. She is godless, as well as the subject of a great deal of gossip; the women at the post suspect she’s had an exciting variety of extramarital romps, though this isn’t true. She has had a few affairs, but she has been seeing only Major Morris Langdon for the past two years. Leonora has a good reputation but somewhat lacks common sense.

Leonora enjoys her warm bath and dresses for dinner; her lover and his wife, Alison, attend as guests. Leonora and the Major enjoy their meal, and the reader learns that the Major is popular among officers and soldiers alike. Alison looks ill; she has both physical and mental chronic conditions. After dinner, the two couples go to the sitting room for cards and conversation.

Private Williams is still standing outside the house and saw Leonora when she undressed. Because of the Private’s strict religious upbringing, he has hardly had any interactions—sexual or otherwise—with women. In fact, until his clandestine glimpse into the Penderton House, he had never before even seen a naked woman. He watches Leonora, unable to leave for some time.

Part 1 Analysis

Right away, the novel establishes that it will be about a murder. Given the sensational subject matter of this report, the narrator’s voice is counterintuitively clinical as it matter-of-factly lists the “participants” not by their names but by generic categories: “two officers, a soldier, two women, a Filipino, and a horse” (309). It is therefore not yet clear who the murderer is, who the victim is, or why the murder occurs. The narration's sterile tone, as well as the nondescript quality of the details given, accentuates the essential lifelessness and monotony of the setting; instead of further exploring the murder premise, Part 1 depicts the restrictive societal structures and expectations that spur these people to act as they do, introducing the theme of Conformity: An Advantage for Some, a Trap for Others. In addition to imposing strict roles onto its inhabitants, the army base imposes strict power hierarchies and social norms that benefit only some of the characters.

As suggested by the narration’s anonymizing taxonomy of murder “participants,” the conformist life on the army base leaves little room for the residents’ full personhood. Moreover, the characters are all cut off from one another in some sense, neither truly knowing each other nor truly being known. Private Williams, a bachelor, is promptly characterized as a loner with no genuine connections to the other soldiers, but Part 1 also introduces the novel’s two married couples—the Pendertons and the Langdons—neither of which involves love or even mutual understanding. Yet the characters long for connection, and some of them will pursue that desire in unhealthy, unusual ways. Private Williams is the first and most conspicuous example; in the upcoming Part 2, after having glimpsed the naked Leonora, Williams becomes obsessed with her and develops stalking and surveilling behaviors. Thus emerges a recurring theme in McCullers’s oeuvre: Spiritual Isolation and the Grotesque.

The narrative perspective itself highlights elements of spiritual isolation. The novel uses the third-person limited perspective, meaning that while the narration is omniscient, it is anchored in one character at a time and views the world through their perspective. The narrative quickly shifts between the characters’ perspectives, and each character temporarily takes the reins of the narrative: Their consciousness decides what the narrative notices and how the narrative interprets what happens. Because this mode of narration allows the reader to contrast various characters’ points of view with each other, it’s soon evident that the characters have highly limited and often distorted images of one another. Their perspectives rarely align, and the characters rarely seek such alignment. They remain isolated and locked within themselves, visible to each other only as “reflections”—impressions filtered through the lens of the viewer’s personality.

To Captain Penderton, for example, his wife and the Major aren’t full people: His understanding is based on how he imagines they relate to him. This partly reflects a broader, willful lack of imagination: “The formation of an idea involves the fusion of two or more known facts. And this the Captain had not the courage to do” (315). The idea that the Captain is afraid to form an idea suggests his attachment to norms and aversion to anything new or different—most notably, his attraction to men, which he likewise fears and represses.

In fact, the novel depicts a society in which most types of desire are forbidden and shameful. Private Williams seems shaken to the core by the sight of Leonora Penderton; Captain Penderton’s desire shames him so much that it eventually leads him to murder the Private. This dynamic harkens to The Nature of Obsession as well as the grotesque: In the stifling world of the novel, there are few healthy outlets for desire, so it tends to manifest in twisted and even violent ways.

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