Maud Martha

by Gwendolyn Brooks

Paul Phillips Character Analysis

Paul Phillips is Maud Martha’s husband. A light-skinned Black man, his appearance gives him a modicum of privilege within the Black community, although he frets because his features are still stereotypically Black. His concern about his own appearance reflects a certain shallowness that begins to impact his relationship with Maud Martha very early on—even before they’re married, she is aware that her appearance is a detriment in Paul’s eyes. Paul’s colorism leads him to treat Maud Martha with cruelty at times, like when he abandons her at the Foxy Cats Dawn Ball to dance with the lighter-skinned Maella. Paul has socially mobile aspirations. When he and Maud Martha marry, he eagerly imagines them living in an enviable apartment and earning invitations to organizations like the Foxy Cats Club. However, in reality, he’s just a grocery-store clerk who can barely support his family. Paul can also be selfish and cold toward his wife. He panics when she is in labor with Paulette, he expects Maud Martha to give him sex when he wants it and to clean up after him and his friends, he frequently forgets her birthday, and he doesn’t respect her desire to create strong family traditions. However, the book portrays many of his failures as symptoms of the broader systems of racism and economic oppression that keep disadvantaged people in their places. Maud Martha recognizes and feels pity for Paul’s frustrated ambitions, just as she forgives his colorism because she understands his basic character flaw is discontentment rather than malice.

Paul Phillips Quotes in Maud Martha

The Maud Martha quotes below are all either spoken by Paul Phillips or refer to Paul Phillips. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
A Good Life Theme Icon
).

Chapter 7 Quotes

Then just what was important? What had been important about this life, this Uncle Tim? Was the world any better off for his having lived? A little, perhaps. Perhaps he had stopped his car short once, and saved a dog, so that another car owner could kill it a month later. Perhaps he had given some little street wretch a nickel’s worth of peanuts in its unhappy hour, and that little wretch would grow up to forget Uncle Tim but all its life would carry in its heart an anonymous, seemingly underivative softness for mankind. Perhaps. Certainly he had been good to his wife Nannie. She had never said a word against him.

But how important was this, what was the real importance of this, what would—God say? Oh, no! What she would rather mean was, what would Uncle Tim say, if he could get back?

Related Characters: Maud Martha Brown (speaker), Nannie, Paul Phillips, Tim
Page Number and Citation: 16
Explanation and Analysis:

Chapter 12 Quotes

Maud Martha loved it when her magazines said, “New York,” described “good” objects there, wonderful people there, recalled fine talk, the bristling or the creamy or the tactfully shimmering ways of life. They showed pictures of rooms with wood paneling, softly glowing, touched up by the compliment of a spot of auburn here, the low burn of a rare binding there. There were ferns in these rooms, and Chinese boxes; bits of dreamlike crystal; a taste of leather. In the advertisement pages, you saw where you could buy six Italian plates for eleven hundred dollars—and you must hurry, for there was just the one set; you saw where you could buy antique French bisque figurines […] Her whole body become a hunger, she would pore over these pages.

Related Characters: Mrs. Burns-Cooper, Maud Martha Brown, Paul Phillips
Page Number and Citation: 30-31
Explanation and Analysis:

Chapter 13 Quotes

But I am certainly not what he would call pretty. Even with all this hair (which I have just assured him, in response to his question, is not “natural,” is not good grade or anything like good grade) even with whatever I have that puts a dimple in his heart, even with these nice ears, I am still, definitely, not what he can call pretty. Pretty would be a little cream-colored thing with curly hair. Or at the very lowest pretty would be a little curly-haired thing the color of cocoa with a lot of milk in it. Whereas, I am the color of cocoa straight, if you can even be that “kind” to me.

Related Characters: Maud Martha Brown (speaker), Helen Brown, Paul Phillips
Page Number and Citation: 33
Explanation and Analysis:

Still, mused Maud Martha, I am what he would call—sweet, and I am good, and he will marry me. Although, he will be thinking, that’s what he always says about letting yourself get interested in these incorruptible virgins, that so often your manhood will not let you concede defeat, and before you know it, you have let them steal you, put an end, perhaps, to your career.

He will fight, of course. He will decide that he must think a long time before he lets it happen here.

But in the end I’ll hook him, even while he’s wondering how this marriage will cramp him or pinch at him—at him, admirer of the gay life, spiffy clothes, beautiful yellow girls, natural hair, smooth cars, jewels, night clubs, cocktail lounges, class.

Related Characters: Maud Martha Brown (speaker), Paul Phillips
Page Number and Citation: 34-35
Explanation and Analysis:

Chapter 15 Quotes

And these things—roaches, and having to be satisfied with the place as it was—were not the only annoyances that had to be reckoned with. She was becoming aware of an oddness in color and sound and smell about her, the color and sound and smell of the kitchenette building. The color was gray, and the smell and sound had taken on a suggestion of the properties of color, and impressed one as gray, too. The sobbings, the frustrations, the small hates, the large and ugly hates, the little pushing-through love, the boredom, that came to her from behind those walls (some of them beaver-board) via speech and scream and sigh—all these were gray. And the smells of various types of sweat and of bathing and bodily functions […] and of fresh or stale love-making, which rushed in thick fumes to your nostrils as you walked down the hall—these were gray.

Related Characters: Paul Phillips, Maud Martha Brown
Page Number and Citation: 40
Explanation and Analysis:

Chapter 16 Quotes

He sat playfully on part of her thigh. He gently kicked her toe.

Once home, he went immediately to the bathroom. He did not try to mask his need, he was obvious and direct about it.

“He could make,” she thought, “a comment or two on what went on at the musicale. Or some little joke. It isn’t that I’m unreasonable or stupid. But everything can be done with a little grace. I’m sure of it.

When he came back, he yawned, stretched, smeared his lips up and down her neck, assured her of his devotion, and sat down on the bed to take off his shoes. She picked up Of Human Bondage, and sat at the other end of the bed.

“Snuggle up,” he invited.

“I thought I’d read awhile.”

“I guess I’ll read awhile, too,” he decided[.]

Related Characters: Maud Martha Brown (speaker), Paul Phillips (speaker)
Page Number and Citation: 41-42
Explanation and Analysis:

Chapter 18 Quotes

Maud Martha was so glad that they had not gone to the Owl! Here was technicolor, and the love story was sweet. And there was classical music that silvered its way into you and made your back cold. And the theater itself! It was no palace, no such Great Shakes as the Trivoli out south, for instance (where many colored people went every night). But you felt good sitting there, yes, good, and as if, when you left it, you would be going home to a sweet-smelling apartment with flowers on little gleaming tables; and wonderful silver on night-blue velvet, in chests; and crackly sheets; and lace spreads on such beds as you saw at Marshall Field’s. Instead of back to your kit’n’t apt., with the garbage of your floor’s families in a big can just outside your door […]

Related Characters: Maud Martha Brown (speaker), Paul Phillips
Related Symbols: Flowers
Page Number and Citation: 49
Explanation and Analysis:

Chapter 19 Quotes

“It’s not,” thought Maud Martha, “that they love each other. It oughta be that simple. Then I could lick it. It oughta be that easy. But it’s my color that makes him mad. I try to shut my eyes to that, but it’s no good. What I am inside, what is really me, he likes okay. But he keeps looking at my color, which is like a wall. He has to jump over it in order to meet and touch what I’ve got for him. He has to jump away up high in order to see it. He gets awful tired of all that jumping.”

[…]

“I could, considered Maud Martha, “go over there and scratch her upsweep down. […] I could scream, ‘I’m making a baby for this man and I mean to do it in peace.’”

But if the root was sour what business did she have up there hacking at a leaf?

Related Characters: Maud Martha Brown (speaker), Maella, Paul Phillips, Helen Brown
Page Number and Citation: 56
Explanation and Analysis:

Chapter 22 Quotes

Here he was, whipping himself to death daily, that Maud Martha’s stomach and Paulette’s stomach might receive bread and milk and navy beans with tomato catsup, and he was taken to task because he had not furnished, in addition, a velvet-lined buggy with white-walled wheels! Oh yes, that was what Maud Martha wanted, for her precious princess daughter, and no use denying. But she could just get out and work, that was all. She could just get out and grab herself a job and buy some of those beans and buggies. And in the meantime, she could just help entertain his friends. She was his wife, and he was head of the family, and on Christmas night the least he could do, by God, and would do, by God, was to stand his friends a mug of beer. And to heck with, in fact, to hell with, her fruitcakes and coffees. Put Paulette to bed.

Related Characters: Paul Phillips (speaker), Paulette, Maud Martha Brown
Page Number and Citation: 66-67
Explanation and Analysis:

Chapter 23 Quotes

The one-roomer next to the Whitestripes was occupied by Maryginia Washington, a maiden of sixty-eight, or sixty-nine, or seventy, a becrutched, gnarled, bleached lemon with smartly bobbed white hair; who claimed, and proudly, to be an “indirect” descendant of the first President of the United States; who loathed the darker members of her race but did rather enjoy playing the grand dame, a hobbling, denture-clacking version, for their benefit, while they played, at least in her imagination, Topsys—and did rather enjoy advising them, from time to time, to apply lightening creams to the horror of their flesh—“because they ain’t no sense in lookin’ any worser’n you have to, is they, dearie?”

Related Characters: Maryginia Washington, Paulette, Paul Phillips, Maud Martha Brown
Page Number and Citation: 78
Explanation and Analysis:

Chapter 27 Quotes

The baby was getting darker all the time! She knew that he was tired of his wife, tired of his living quarters, tired of working at Sam’s, tired of his two suits.

He is ever so tired, she thought.

He had no money, no car, no clothes, and he had not been put up for membership in the Foxy Cats Club.

Something should happen. He was not on show. She knew that he believed he had ben born to invade, to occur, to confront, to inspire the flapping of flags, to panic people. To wear, but carelessly, a crown. What could give him his chance, illuminate his gold?—be a happening?

Related Characters: Maud Martha Brown (speaker), Abraham Brown, Paul Phillips, Belva Brown, Paulette
Page Number and Citation: 94
Explanation and Analysis:

Chapter 30 Quotes

There was no introduction, but the elder Burns-Cooper boomed, “Those potato parings are entirely too thick!”

There was no remonstrance; no firing! They just looked. But for the first time, she understood what Paul endured daily. For so—she could gather from a Paul-word here, a Paul-curse there—his Boss! when, squared, upright, terribly upright, superior to the President, commander of the world, he wished to underline Paul’s lacks, to indicate soft shock, controlled incredulity. As his boss looked at Paul, so these people looked at her. As though she were a child, a ridiculous one, and one that ought to be given a little shaking, except that shaking was—not quite the thing, would not quite do. One held up one’s finger (if one did anything), cocked one’s head, was arch. AS in the old song, one hinted, “Tut tut! Now now! Come come!” Metal rose, all built, in one’s eye.

Related Characters: Helen Brown, Paul Phillips, Mrs. Burns-Cooper, Maud Martha Brown, Clement Lewy, Teenie Thompson
Page Number and Citation: 103
Explanation and Analysis:

Chapter 33 Quotes

Helen, she thought, would not have twitched, back there. Would not have yearned to jerk trimming scissors from purse and jab jab jab that evading eye. Would have gathered her fires, patted them, rolled them out, and blown on them. Because it really would not have made much difference to Helen. Paul would have twitched, twitched awfully, might have cursed, but after the first tough cough-up of rage would forget, or put off studious perusal indefinitely.

She could neither resolve or dismiss. There were these scraps of baffled hate in her, hate with no eyes, no smile and—this she especially regretted, called her hungriest lack—not much voice.

Related Characters: Maud Martha Brown (speaker), Helen Brown, Paul Phillips, Mrs. Burns-Cooper, Paulette
Page Number and Citation: 111-112
Explanation and Analysis:
Get the entire Maud Martha LitChart as a printable PDF.
"My students can't get enough of your charts and their results have gone through the roof." -Graham S.
Maud Martha PDF

Paul Phillips Character Timeline in Maud Martha

The timeline below shows where the character Paul Phillips appears in Maud Martha. The colored dots and icons indicate which themes are associated with that appearance.
Chapter 13
Race Relations  Theme Icon
Class Limitations  Theme Icon
Maud Martha sits on the porch with her latest beau, Paul Phillips. She wants to marry this man and she’s certain she will do so, even... (full context)
A Good Life Theme Icon
Gender Roles Theme Icon
Paul is busy telling Maud Martha that he isn’t really interested in fatherhood but wouldn’t mind... (full context)
Chapter 14
A Good Life Theme Icon
Gender Roles Theme Icon
Once Paul decides to marry Maud Martha, he sets his sights on creating a life that will... (full context)
Chapter 15
A Good Life Theme Icon
Gender Roles Theme Icon
Race Relations  Theme Icon
Class Limitations  Theme Icon
The Chicago Defender will not be taking pictures of the apartment Paul and Maud Martha move into after they get married. It’s one of four units on... (full context)
Chapter 16
A Good Life Theme Icon
Gender Roles Theme Icon
Paul and Maud Martha go to a show, where Paul promptly falls asleep. Afterward, he flirts... (full context)
A Good Life Theme Icon
Gender Roles Theme Icon
Maud Martha and Paul read together in bed. She is reading Of Human Bondage. He is reading Sex in... (full context)
Chapter 18
Race Relations  Theme Icon
One snowy evening, when Paul shows Maud Martha how much he cares for her by chivalrously opening the car door... (full context)
Race Relations  Theme Icon
Paul and Maud Martha are the only Black people in the lobby. There’s no one at... (full context)
Chapter 19
A Good Life Theme Icon
Class Limitations  Theme Icon
Maud Martha becomes pregnant. Not long afterward, Paul gets an invitation to the Annual Foxy Cats Dawn Ball. The Foxy Cats Club is... (full context)
Race Relations  Theme Icon
Of course, Maud Martha is aware that taking her will be a liability for Paul, because she’s not the beautiful, light-skinned, stylish Foxy Cats type. But she plans to go... (full context)
Race Relations  Theme Icon
The Ball takes place in a lavishly decorated ballroom. Paul and Maud Martha arrive fashionably late and immediately head for the dance floor. But Paul... (full context)
Race Relations  Theme Icon
...but eventually it withered and died. She tells herself that there’s nothing going on between Paul and Maella, who just met. But she knows that her dark skin creates a barrier... (full context)
Chapter 20
Gender Roles Theme Icon
Race Relations  Theme Icon
...into labor one night coming back from the shared bathroom. She cries out and wakes Paul, who helps put her into bed. As Maud Martha writhes in pain, Paul grows more... (full context)
A Good Life Theme Icon
Death and Life  Theme Icon
When Paul gets back upstairs, he finds a neighbor, Mrs. Cray, with Maud Martha. Mrs. Cray gives... (full context)
A Good Life Theme Icon
Race Relations  Theme Icon
Class Limitations  Theme Icon
Paul returns shortly thereafter with the doctor, who cuts the umbilical cord and hands the “fine”... (full context)
Chapter 22
Gender Roles Theme Icon
Maud Martha longs for family traditions to organize her life with Paul and their daughter, Paulette. But Paul isn’t helping. It’s Christmas, and Maud Martha is spending... (full context)
A Good Life Theme Icon
Gender Roles Theme Icon
Maud Martha looks at her cheap but bright white tablecloth. Paul doesn’t care about tablecloths, she thinks sourly. He wouldn’t mind having his plate put on... (full context)
Chapter 23
A Good Life Theme Icon
Gender Roles Theme Icon
...Juliet. She thinks they have a beautiful love story, and she says so, once, to Paul. He tells her to stop thinking about it because he is not and never will... (full context)
Chapter 27
A Good Life Theme Icon
...to drink or to talk about homosexuality with the correct, bored attitude—Maud Martha wonders whether Paul wants to enlist to serve in World War II. She knows a lot of men... (full context)
A Good Life Theme Icon
Gender Roles Theme Icon
But Maud Martha doesn’t ask directly, and Paul can’t read the question in her mind. So, she looks around the club, at the... (full context)
Chapter 30
Gender Roles Theme Icon
Race Relations  Theme Icon
Class Limitations  Theme Icon
When Paul is laid off and the family’s financial situation becomes desperate, Maud Martha takes a job... (full context)