Fighting as Foreplay

They say hell hath no fury like a woman scorned. And Janie is no exception.

Suspicious of the relationship between her husband Tea Cake, and their “little chunky” coworker Nunkie, Janie Starks violently chastises Tea Cake after he and Nunkie disappear from the fields – though it can be reasonably assumed that their interaction during the absence was entirely non-sexual.

In fact, when faced with allegations of impropriety, Tea Cake asserts that he’s guilty of “No sich uh thing” (137). But Janie remains incredulous.

So she fights.

After he returns from the fields, Janie physically confronts her husband, attempting to beat him, chasing Tea Cake “from one room to the other” (137). The pounding of fists and the thrashing of bodies soon turns sexual. As Tea Cake holds Janie’s wrists, refusing to let go, their antagonistic struggle turns to a passionate romp. The couple continue to wrestle, “until their clothes are torn away […] doing things with their body to express the inexpressible” (137).

Their fighting, it would seem, serves as foreplay.

This is echoed later in the novel, as Tea Cake beats Janie to assert his possession of her as his wife. Though he gave, “no brutal beating,” the narrator is clear that he “slapped her around” to “show he was boss” (147).

Tea Cake’s violence, however, is quickly followed by “petting and pampering” – his rage quickly melting to loving tenderness (147).

The narrator is quick to note that the other women on the muck look upon this kindly and optimistically, seeing “visions” (147). Alluding to the opening passage of the novel, in which it is asserted that, for women, “the dream is the truth,” it would seem, then, that being an object of violence is not something to be feared or lamented, but rather something to be embraced and anticipated (1).

Perhaps these mini-illustrations of physical violence within the context of the most loving and fulfilling relationship in the novel suggest a framework for interpretation for the novel as a whole.

Namely, that struggle precedes reward.

It would seem that fierce violence is needed, and indeed should be welcomed, in order for one to experience the greatest pleasure.

This is further buttressed as the narrator reveals that Janie faked her suspicions of Tea Cake’s infidelity with Nunkie in order to reassure herself of the strength of their relationship. It is only after the couple’s pained, passionate physical conflict, that Tea Cake tells Janie that she is “something tuh make a man forgit tuh get old” (138).

Reconciliation can only take place after a rift.

A slap in the face could be what every lover needs.