51 pages • 1 hour read
Gloria NaylorA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
C.C. Baker is 19 years old, has never left his city, and has an intimate knowledge of Brewster Place. He makes a living through “petty hustling” but dreams of something bigger. In his neighborhood, bigger means working for the drug dealer Beetle Royal. Having left high school early, C.C. doesn’t see an alternative to joining a gang. His parents lost his older brother, Hakim, “to the streets” (123), so they tried to keep C.C. in school. However, when he was 12, they finally gave up. C.C.’s father was a Vietnam veteran with a disability, and C.C. wanted the “money, power, and respect” that was missing from his father’s life (123).
C.C. runs with a gang but looks for a way to differentiate himself and finally gets a break when one of Royal’s lieutenants asks him to “mule” a kilo to the other side of town. He does this for six months, bringing money home to help his family. They pretend not to know where the money comes from, which causes C.C. to lose all respect for his father. One day, Royal, known as “The Man,” wants to meet with C.C.
At Royal’s office, he tells C.C. that he is looking for a new junior lieutenant. He is impressed by C.C.’s intelligence and ambition but needs to test his loyalty, so he sends C.C. to kill his brother, Hakim. C.C. waits on the corner with his gun hidden under his jacket. Hakim is his brother, but C.C. keeps any childhood memories at bay. He doesn’t think about Christmases together or sharing his first joint with Hakim. When his brother appears, he shoots him in the face and then runs, crying from the cold wind and thanking God for giving him “the courage to be a man” (129).
Now, C.C. is being interviewed by police officers investigating Hakim’s death. They insist that he isn’t a suspect, but as their questions become more specific, he demands a lawyer.
Ben reflects that fall is his favorite season at Brewster Place, even though tenants start bothering him to turn the radiators on as soon as it gets chilly. He thinks approvingly about one Brewster Place resident, Cliff Jackson. Ben doesn’t understand why he changed his name to Abshu but uses the young man’s chosen name without complaint. If more of Brewster Place’s young people were like Abshu, Ben claims that he “could rest a little easier about where we’re gonna end up as a people” (134).
Abshu is drinking coffee and “plotting the assassination of the Reverend Moreland Woods” (134). He does it every day and contemplates the punishment he might receive for the crime. Woods had become the first Black member of the city council, thanks to people like Abshu, who worked hard to support his campaign. However, on his very first vote, Woods supported the demolition of Brewster Place. He didn’t have to worry about betraying his constituency because the neighborhood would be dispersed, and “the homeless don’t vote” (135).
Abshu is a playwright and has dedicated himself to exposing the children of Brewster Place to art, writing grants to produce plays and puppet shows. He is particularly fond of Shakespeare and believes that his plays can appeal to everyone. Most importantly, however, he listens to the kids at the community center and tries to help them solve their problems.
Having spent much of his childhood in foster care, Abshu is committed to helping other families stay together. His father had been a violent man; when he began to hit the children, his mother decided to move out. However, before she could pack their things, Child Protective Services came to their door, and Abshu and his siblings were separated and placed in foster care. While his foster family wasn’t cruel, Father and Mother Mason showed their foster children little affection. No one ate until Father Mason had been served, and the foster children were all obliged to follow his rules. The Masons enforced a strict curfew and took the children to church every Sunday, which kept Abshu off the streets. However, existing “on the edge of hunger, on the edge of kindness” made Abshu appreciate “a life fully lived” (140). He felt pulled to pursue a meaningful career and surround himself with love.
Abshu got a degree in social work and made the community center near Brewster Place his home. Most of the boys who came to the community center respected him deeply. He lived by the motto “Lose no child to the streets” (140), and if he did lose one, he cried at home.
In one case, Abshu taught a boy and his friends to stand up to bullies by cursing like Shakespeare. The bullies were so shocked and confused at being called a “lump of foul deformity” (142), among other things, that they left the other boys alone. Reflecting on this moment of pride, Abshu thinks that Reverend Woods must be sick with regret for displacing the children of Brewster Place and should be put “out of his misery” (143). However, he also thinks that perhaps Woods doesn’t care about anything besides himself.
Since Woods refuses to meet with Abshu, he has been trying to find a new way to confront the councilman. He thinks that Woods is avoiding him because he knows that Abshu sees through him. Abshu’s musings are interrupted by his friend B.B. Ray, a civil rights lawyer. B.B. suggests that Abshu should make Woods’s life difficult but avoid getting into trouble himself. He points out that Woods’s weakness is women; he asks Abshu how many actresses he knows, and the two devise a plan.
On the day of the city council meeting, a group of around 50 women with babies in strollers or pregnant bellies gathers outside city hall, chanting Woods’s name and claiming that he is the father of their children. Woods denies knowing any of the women, but they continue chanting, demanding paternity tests. Amid the controversy, the council asks Woods to resign. Worried that one or two of the women might be telling the truth, Woods doesn’t fight, and a conservative white councilman replaces him.
Abshu wonders if he was wrong to oust the only Black council member; perhaps one Black man serving would lead to a second getting elected. All Abshu knows is that he will continue fighting for what he believes in and “hope […] his work [i]s making a difference” (154).
In The Women of Brewster Place, C.C. Baker is responsible for the brutal rape of a lesbian woman living at Brewster Place, and Men describes his descent into a life of crime. Like many of the male characters in The Men of Brewster Place, C.C. is searching for the wealth, power, and respect that signify manhood in American society. However, as a Black man, his options for earning this respect are limited. C.C.’s father is “a bitter man” (12), a veteran with a disability and a meager pension, and C.C.’s mother works to support the family. On the other hand, Beetle Royal, the neighborhood’s top dealer, is referred to simply as “The Man.” He is everything that C.C. believes a man should be: wealthy, powerful, elegant, feared, and respected. Royal and his father represent the two extremes of male role models in C.C.’s small world. Playing by the rules has gotten his father nowhere, so C.C. gravitates toward a life of crime, hoping to make something of himself. Describing C.C.’s limited education and exposure to life outside Brewster Place, the narrator asks, “How could it occur to him that there might be a better way?” (122). Posing this as a question takes some of the responsibility away from C.C. and places it with the society that has limited his opportunities, demonstrating the theme of Performative Masculinity and the Impact of Systemic Racism.
Abshu, on the other hand, is a young Black man who does discover a “better way.” His character represents “the future” and offers a model for Black masculinity that doesn’t require “guns […] or mouths like sewers to get respect” (141). Working in the community to support the next generation of Black youth, Abshu is the only character who is secure in his identity and manhood. His name change from Clifford Jackson to the more African-sounding Abshu represents both taking charge of his own life and eschewing American cultural norms that encourage toxic masculinity. Abshu embodies certain traditionally masculine characteristics—for example, protecting the kids in “his territory” at the community center, which he is unafraid to defend from other young men who “needed to flex their muscles” (141). However, he is also secure enough in his identity to renounce masculine stereotypes, expressing compassion and care and spreading his love of Shakespeare around the neighborhood. Abshu rejects the stereotypes that other characters abide by such as Eugene’s belief that Black men must be “big, dark, and mean” (72), illustrating a more nuanced portrait of masculinity.
In addition to contrasting with C.C., Abshu serves as a foil for Reverand Woods, the other character who has claimed to serve his community and garnered a level of respect among the other residents. By now, Woods’s self-serving politics and betrayal of the people of Brewster Place have become apparent. Abshu’s character represents an example of idealized masculinity, as he champions the block’s disadvantaged inhabitants and takes down the reverend who exploited their trust for his gain.
By Gloria Naylor
African American Literature
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Allegories of Modern Life
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Books that Feature the Theme of...
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Class
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Class
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Community
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Daughters & Sons
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Friendship
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Marriage
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Mothers
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