Kiswana is a young woman from a middle-class black family. 'BREWSTER' TELLS THE OTHER SIDE OF STORY If the epilogue recalls the prologue, so the final emphasis on dreams postponed yet persistent recalls the poem by Langston Hughes with which Naylor begins the book: "What happens to a dream deferred? " The inconclusive last chapter opens into an epilogue that too teases the reader with the sense of an ending by appearing to be talking about the death of the street, Brewster Place. By the end of the evening Etta realizes that Mattie was right, and she walks up Brewster Street with a broken spirit. Unfortunately, the realization comes too late for Ciel. And like all of Naylor's novels so far, it presents a self-contained universe that some critics have compared to William Faulkner's Yoknapatawpha County. Virginia C. Fowler, "'Ebony Phoenixes': The Women of Brewster Place," in Gloria Naylor: In Search of Sanctuary, edited by Frank Day, Twayne Publishers, 1996, pp. Baker is the leader of a gang of hoodlums that haunt the alley along the wall of Brewster Place, where they trap and rape Lorraine. Her story starts with a description of her happy childhood. Novels for Students. The chapter begins with a mention of the troubling dreams that haunt all the women and girls of Brewster Place during the week after Ben's death and Lorraine's rape. Angels Carabi, in an interview with Gloria Naylor, Belles Lettres 7, spring, 1992, pp. Light-skinned, with smooth hair, Kiswana wants desperately to feel a part of the black community and to help her fellow African Americans better their lives. "The Men of Brewster Place" include Mattie Michael's son, Basil, who jumped bail and left his mother to forfeit the house she had put up as bond. Brewster Place Brewster Place provides the connection among the seven very unique women with stories of their own to tell. In that violence, the erotic object is not only transformed into the object of violence but is made to testify to the suitability of the object status projected upon it. But this ordinary life is brought to an abrupt halt by her father's brutal attack on her for refusing to divulge the name of her baby's father. Because the victim's story cannot be told in the representation itself, it is told first; in the representation that follows, that story lingers in the viewer's mind, qualifying the victim's inability to express herself and providing, in essence, a counter-text to the story of violation that the camera provides. Mattie allows herself to be seduced by Butch Fuller, whom Samuel thinks is worthless. Bellinelli, director, RTSJ-Swiss Television, producer, A Conversation with Gloria Naylor on In Black and White: Six Profiles of African American Authors, (videotape), California Newsreel, 1992. http://www.newsreel.org/films/inblack.htm.
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