VII: Zeddy's Rise and Fall explained

What happens

Themes in this chapter

• Love and Exploitation

  The relationship between Zeddy and Susy is a clear example of transactional love, where material support is exchanged for control and fidelity. Zeddy's rebellion and Susy's possessiveness reveal the exploitative dynamics beneath the surface of the 'sweet' arrangement.

• Masculinity and Violence

  Zeddy's need to assert his independence and avoid being seen as a 'skirt-man' is a central conflict. His threats of violence toward Susy and his posturing at the Congo are performances of masculinity that are both challenged and reinforced by his situation.

• Labor and Class

  Susy's identity as a skilled cook who is 'always sure of a good place' underscores the economic realities of Black domestic labor. Her wages enable her to keep Zeddy, creating a class dynamic within the community where she holds financial power.

• Harlem Renaissance Culture

  The chapter vividly portrays the cabaret scene, with its music, dancing, and fashion, as a central part of Harlem's cultural life. The description of the pianist and the dancers captures the artistic energy and excitement of the era.

Characters to notice

• Zeddy Plummer

  Now living with Susy on Myrtle Avenue, Zeddy enjoys the material comforts of being kept but resents Susy's control over his movements and her jealousy. He rebels by returning to Harlem and flaunting his independence at the Congo.

• Gin-head Susy

  Susy is the matriarchal provider who keeps Zeddy. She is generous with her cooking and gin but fiercely possessive, issuing ultimatums to keep Zeddy from straying. Her authority is challenged as Zeddy begins to push back.

• Jake Brown

  Jake observes Zeddy's new situation with amusement and a sense of his own independence. He acts as a go-between, visiting Susy's for a feast and later accompanying Zeddy to the Congo, where he sits at his table.

• Billy Biasse

  Nicknamed 'the Wolf,' Billy teases Zeddy about being a 'skirt-man' and boasts about his own independence from women. He is present at the Congo, where he sits with a longshoreman and a made-up 'doll baby.'

• Congo Rose

  Rose is at the Congo, sobering up from a champagne party. She sits with Zeddy's table and identifies the 'doll baby' at Billy's table as her dancing partner.

• Miss Curdy

  A constant visitor to Susy's gin parties, Miss Curdy is present at the failed party and later joins the feast at Susy's, where she praises the stewed corn.

• Strawberry Lips

  Accompanies Miss Curdy to Susy's gin party and later to the feast, where she receives a bit of chicken breast.

Key passages

• “Ise a wolf, all right, but I ain't a lone one... I guess Ise the happiest, well-feddest wolf in Harlem. Oh, boy!”

  Billy Biasse proudly declares that he is a 'wolf' who is well-cared for, implying he has found a comfortable arrangement without being tied down.

  Billy's boast contrasts with Zeddy's situation, highlighting different models of masculine independence and dependence.

• “It's the darkness of new loving, boh. But the honeymoon is good and well ovah, and I'll be li'l moh in Harlem as usual, looking the chippies and chappies ovah.”

  Zeddy tells Jake that the initial excitement of his new relationship with Susy is over, and he plans to return to his usual Harlem haunts.

  Zeddy's statement reveals his restlessness and his intention to reassert his independence despite his arrangement with Susy.

• “I ain't bohding and lodging no black man foh'm to be any other nigger woman's daddy.”

  Susy warns Zeddy that she is not supporting him so that he can be with other women.

  Susy's declaration establishes the terms of their arrangement, making clear her expectation of exclusivity in exchange for her financial support.

• “I'll put you' block in the street.”

  Susy threatens to throw Zeddy out of her home if he disobeys her.

  This threat underscores the power imbalance in their relationship, where Susy's material support gives her ultimate control.