The Convent represents the complications of constructing a paradise. Specifically, it represents the conflicting facts that a paradise demands the exclusion of dangerous forces—but that excluding and avoiding those dangers instead of addressing them inevitably destroys the paradise. Just as Ruby is an all-Black community removed from the dangers of white people and racism, the Convent is an all-female community removed from the dangers of men and the patriarchy. Each of the women’s trauma is rooted to some extent in mistreatment by men: Mavis and Seneca were both abused by their partners, Pallas and Connie were both betrayed by theirs, and Gigi harbors unresolved tension with both her ex-lover Mikey and her father. The Convent ensures that the women will never be mistreated again by isolating them from men entirely. In this way, the Convent becomes a “paradise” for the women, just as Ruby is a paradise for the Black men who founded it. The stability of both paradises necessitates exclusion and isolation. These features are more pronounced in Ruby, since the town leaders enforce them upon a community that does not unanimously agree on their importance, but they are also present in the Convent, which the women keep free of any radios or newspapers.
An isolated paradise removed from oppressive forces promises safety, but that safety is not permanent. Unlike Ruby, though, the Convent ceases to be a paradise because of external forces. When the men of Ruby allow the Convent to function independently, its safety allows the women to grow closer and help each other move through their respective traumas. However, the flourishing of this paradise threatens the patriarchal tenets that uphold Ruby’s paradise, so the men of the town attack the Convent and murder the women who live there. The men’s violence is the culmination of years of discord in Ruby, and the massacre marks the point when Ruby ceases to be a paradise and becomes “like any other country town.” Both paradises end at the same time, but Ruby destroys itself while the Convent is destroyed by the system it tried to escape.
The Convent Quotes in Paradise
As new fathers, who had fought the world, they could not (would not) be less than the Old Fathers who had outfoxed it; who had not let danger or natural evil keep them from cutting Haven out of mud and who knew enough to seal their triumph with that priority. An Oven. […] the Old Fathers did that first: put most of their strength into constructing the huge, flawlessly designed Oven that both nourished them and monumentalized what they had done.
Unique and isolated, his was a town justifiably pleased with itself. It neither had nor needed a jail. No criminals had ever come from his town. And the one or two people who acted up, humiliated their families or threatened the town’s view of itself were taken good care of. Certainly there wasn’t a slack or sloven woman anywhere in town and the reasons, he thought, were clear. From the beginning its people were free and protected. A sleepless woman could always rise from her bed, wrap a shawl around her shoulders and sit on the steps in the moonlight. And if she felt like it she could walk out the yard and […] beyond the limits of town, because nothing at the edge thought she was prey.
Bodacious black Eves unredeemed by Mary, they are like panicked does leaping toward a sun that has finished burning off the mist and now pours its holy oil over the hides of game.
God at their side, the men take aim. For Ruby.
Mavis frowned at the pecans. “No,” she said. “Think of something else I can do to help. Shelling that stuff would make me crazy.”
“No it wouldn’t. […] Look at your nails. Strong, curved like a bird’s––perfect pecan hands. Fingernails like that take the meat out whole every time. Beautiful hands, yet you say you can’t. Make you crazy. Makes me crazy to see good nails go to waste.”
Later, [Mavis watched] her suddenly beautiful hands moving at the task […].
It was the I-give woman serving up her breasts like two baked Alaskas on a platter that took all the kick out of looking in the boy’s eyes. Gigi watched him battle his stare and lose every time. He said his name was K.D. and tried hard to enjoy her face as much as her cleavage when he talked. It was a struggle she expected, rose to and took pleasure in––normally. But the picture she had wakened to an hour earlier spoiled it.
The third day, [Seneca] began to understand why Jean was gone and how to get her back. She cleaned her teeth and washed her ears carefully. She also flushed the toilet right away, as soon as she used it, and folded her socks inside her shoes. […] Those were her prayers: if she did everything right without being told, either Jean would walk in or when she knocked on one of the apartment doors, there’d she be! Smiling and holding out her arms.
Meanwhile the nights were terrible.
[…] Pulliam had just sprayed [poison] over everything[.] Over the heads of men finding it so hard to fight their instincts to control what they could and crunch what they could not; in the hearts of women tirelessly taming the predator; in the faces of children not yet recovered from the blow to their esteem upon learning that adults would not regard them as humans until they mated; of the bride and groom frozen there, desperate for this public bonding to dilute their private shame. Misner knew that Pulliam’s words were a widening of the war he had declared on Misner’s activities: tempting the youth to step outside the wall, outside the town limits, shepherding them, forcing them to transgress, to think of themselves as civil warriors.
That is how the loud dreaming began. How the stories rose in that place. Half-tales and the never-dreamed escaped from their lips to soar high above guttering candles, shifting dusts from crates and bottles. And it was never important to know who said the dream or whether it had meaning. In spite of or because their bodies ache, they step easily into the dreamer’s tale.
The women in the Convent were for [Steward] a flaunting parody of the nineteen Negro ladies of his and his brother’s youthful memory and perfect understanding. They were the degradation of that moment they’d shared of sunlit skin and verbena. They, with their mindless giggling, outraged the dulcet tones, the tinkling in the merry and welcoming laughter of the nineteen ladies who, scheduled to live forever in pastel shaded dreams, were now doomed to extinction by this new and obscene breed of female. He could not abide them for […] desecrating the vision that carried him and his brother through a war, that imbued their marriages and strengthened their efforts to build a town where the vision could flourish.
Whether they be the first or the last, representing the oldest black families or the newest, the best of the tradition or the most pathetic, they had ended up betraying it all. They think they have outfoxed the whiteman when in fact they imitate him. They think they are protecting their wives and children, when in fact they are maiming them. And when the maimed children ask for help, they look elsewhere for the cause. […] How exquisitely human was the wish for permanent happiness, and how thin human imagination became trying to achieve it. Soon Ruby will be like any other country town: the young thinking of elsewhere; the old full of regret.
The Convent Symbol Timeline in Paradise
