The Heart is a Lonely Hunter Identity Quotes
How we cite our quotes: (Part.Chapter.Paragraph)
Quote #1
Being around that woman always made him different from his real self. It made him tough and small and common as she was. (1.2.15)
Biff's tense relationship with Alice shows us that in The Heart Is a Lonely Hunter, other people have a lot of power in shaping characters' senses of self. But does Biff's identity actually change because of Alice? Or does she just make him feel different sometimes?
Quote #2
He was thinking that in nearly every person there was some special physical part kept always guarded. (1.2.124)
All of the main characters are closed off in some way, and they all try to protect certain aspects of their identity. Other people and the world have the ability to change a person, and the main characters seem to recognize this fact with alarm. We might think of this as a kind of self-preservation, as if these characters want to save and protect their individual identities. But do any of them succeed?
Quote #3
People felt themselves watching him even before they knew that there was anything different about him. His eyes made a person think that he heard things nobody else ever heard, that he knew things no one had ever guessed before. (1.2.82)
All these people think they know Singer. But it's all a big pile of assumptions, guesswork, and hearsay. Who is the real Singer? We're not even sure he knows.
Quote #4
[N]one of us ever cares to talk like you. Us talk like our own Mama and her peoples and their peoples before them. You think out everything in your brain. While us rather talk from something in our hearts that has been there for a long time. (1.4.70)
Ah, the age old battle between the head and the heart. Portia is proud to be like her mother and the heritage that her mom represented. That comes from the heart. But Copeland is all about the mind. He has cut himself off from his own heritage by embracing cool logic and detachment, and some fiercely proper grammar.
Quote #5
Nothing much happened that she could describe to herself in thoughts or words – but there was a feeling of change. All the time she was excited. (2.1.1)
Mick comes of age in this novel. Her life changes constantly, even though much of her day-to-day life remains the same. At this point her identity is still in flux. She could become any number of things. But by the end of the novel, her identity becomes totally static. She becomes defined by her job, and that doesn't seem like it will change anytime soon.
Quote #6
This part of the music was beautiful and clear. She could sing it now whenever she wanted to. Maybe later on, when she had just waked up some morning, more of the music would come back to her. (2.1.136)
Mick is often described as having music inside of her, which is oddly reassuring. Mick can't always access that music, but she knows it's there, deep inside, just waiting for the right time to be heard.
Quote #7
They talked and the mute's expression changed as he watched them. It was a funny thing. The reason – was it in them or in him? He sat very still with his hands in his pockets, and because he did not speak it made him seem superior. What did that fellow think and realize? (2.2.77)
Biff recognizes that the Singer these people think they know is really just a figment of their imaginations. But Biff wants to know the real Singer? We're with you, Biff. We want to know, too.
Quote #8
But the words often stuck in his mouth, and his voice now was hoarse and not loud as it had been before. He pushed the words into the sick and patient faces of the Negroes who were his people. (2.3.39)
The physical details here about Copeland's voice reveal a huge shift going on in his identity – he spends the novel transforming from an active community leader to a sick, old man whose life is nearing an end.
Quote #9
"It was like being born a second time. Just us who know can understand what it means. We have opened our eyes and have seen. We're like people from way off yonder somewhere. (2.4.12)
Hmm. Being born a second time? That sounds pretty religious to Shmoop. In a lot of ways, both Jake and Copeland are like zealous preachers; they've just substituted politics and philosophy for God.
Quote #10
After that night nobody called him Bubber any more. The big kids in the neighborhood started calling him Baby-Killer Kelly. But he didn't speak much to any person and nothing seemed to bother him. The family called him by his real name – George. (2.5.157)
Bubber's transformation into George shows how actions can shape one's character. He becomes known all around town by his one mistake. And now that he has changed, his family can't very well call him by his old nickname, can they? So they opt for George.
Quote #11
She felt very old, and it was like something was heavy inside her. She was a grown person now, whether she wanted to be or not. (2.11.126)
Mick's identity just keeps changing on us. But those changes seem completely out of her control. She makes choices, sure, but she doesn't seem to understand that her choices will change her, whether she wants to or not.