Section 1.1: Race in The Awakening

Although The Awakening does not overtly tackle race, its influence is pervasive throughout the narrative. Edna Pontellier's quest for independence is central to the story; however, she already enjoys a form of autonomy at the outset by employing a "quadroon" nurse and Black servants to manage her household. During her time at Grand Isle, we observe the "quadroon nurse" trailing Edna's children around the island with a distant, contemplative demeanor. The nurse remains unnamed, serving merely as a tool for Edna to relish her lifestyle and to carve out time for her self-discovery.

Most Black characters in The Awakening are unnamed, similar to the "quadroon nurse." One of the few named Black characters is Old Celestine, one of Edna's servants. While the nurse enables Edna to explore her identity without parental duties, Old Celestine allows her to pursue self-discovery without the burden of household chores. When Edna contemplates relocating to the "pigeon house," she remarks to Mademoiselle Reisz, "I can live in the tiny house for little or nothing, with one servant. Old Celestine, who works occasionally for me, says she will come stay with me and do my work. I know I shall like it, like the feeling of freedom and independence."

Edna's decision to rent the "pigeon house" represents her desire for "freedom and independence," free from her husband and domestic responsibilities; however, this independence comes at the expense of Celestine's autonomy. Jessica Rosenthal aptly notes, "She will enjoy this freedom and independence while suppressing Old Celestine's freedom and independence." Edna's pursuit of independence, including her aspirations to paint and sell her artwork, still relies on the labor of others, as she remains dependent on Celestine even in her small abode.

Section 1.2: Hurston's Counter-Narrative

In contrast to Chopin's lack of humanization for Black characters, Hurston offers a vibrant portrayal of an independent Black community in Eatonville. She also highlights the experiences of domestics like Celestine through Janie Crawford's grandmother, Nanny, who works for a white employer early in the narrative. Nanny’s "Madam" assists her with Janie after her mother departs, yet we never encounter this white woman directly. This approach reveals Nanny and Janie's lives beyond the scrutiny of white figures like Edna, showcasing their humanity and the identities they forge outside of white observation.

Similarly, we do not meet Captain Eaton, the white owner of the land Joe Starks purchases to establish Eatonville. When Joe and Janie arrive, the men mention Eaton as being "over dere in Maitland." The transaction between Joe and Eaton occurs offstage, with Joe returning to town with the land deed. Eaton serves as an unseen influence, a specter who affects the community without being present.

As the hurricane strikes at the novel's conclusion, whites again remain offstage. They loom over the narrative, as the narrator notes that the whites in "the castles thought themselves secure," while those laboring in the muck ponder their own safety. Later, as Janie, Tea Cake, and others seek refuge, the narrator observes, "White people had preempted that point of elevation and there was no more room." This is the first instance we see white characters, who occupy land and obstruct others from seeking safety.

The only white individuals who speak in the novel appear post-hurricane, forcing Tea Cake at gunpoint to dig mass graves and recover bodies in the storm's aftermath. They demean Tea Cake and other storm victims, using derogatory terms and asserting that coffins are for whites while mass graves are for Blacks. This scene starkly illustrates the reality of racism and white supremacy, a theme that persists until Janie's trial, where she faces an all-white male jury after shooting Tea Cake. Despite the jury's not guilty verdict, the composition of the jury and the crowd of white spectators reveal the ongoing influence of white supremacy.