Throughout the text Cane by Jean Toomer, the author paints a paradoxical representation of women because, if he sometimes criticizes the metonymization of women, he also participates in it . For example, the first half of the book relies almost entirely on the mythologization of various female figures in Southern society. However, the second half of the book gives voice to female characters, thus allowing a critique of male behavior. Likewise, the text expresses a deep nostalgia for the origins of African-American culture, while acknowledging a past filled with slavery and oppression. The interplay of these two concepts throughout the text helps articulate the complex issue of racial identity in post-slavery America. An example is the comparison of women to cotton flowers. Each vignette in the text acts as a force reconciling the cognitive dissonance that accompanies Toomer's "mourning" over his problematic racial origins, while exploring his controversial views of women and sexuality. An example of the interaction between race and gender is the story “Theater.” Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Since the story is told through John's point of view, the male gaze is very present in the descriptions of the women, especially in the bracketing. Throughout the story, John's thoughts intervene in the descriptions of the scene, and they are mostly condescending in nature. He sexualizes the dancers with comments like "Lift up your skirts, baby, and talk to daddy!" » (Toomer 50) and "Dance and I'll love you!" (Toomer 52). His thoughts while watching the rehearsal border on voyeurism, as he fetishizes women in his descriptions: "Soon the director will gather you, my distant, full-lipped beauties, and tame you, and blunt your sharp thrusts into movements vaguely suggestive… Soon I… I would like…” (Toomer 50). John's obsession with looking from afar at women "the 'distant beauties' (Toomer 50)" explains the text's racially based "mourning" due to his conflicting feelings toward them. Although he desires women, he does not allow himself to get close to them for various reasons. This can be seen in his streams of consciousness where he argues with himself saying, "Touch her...Hell no." It can't be done...it can be done. Take her home somewhere, anywhere... Hold 'em, buddy, it can't be done. Let her go…And keep her beauty” (Toomer 52). His obsessive fantasies about women, in addition to being inappropriate and borderline threatening, also show a conflict between his desire and his inability to succumb to that desire. Ultimately, John's internal conflict represents Toomer's identity conflicts on a much smaller scale. Race and status also play a role in creating a divide between John and the dancers. Although they are all present in a historically African-American space, the Howard Theater, where there are "black-skinned" dancers and "tours of songs volley into the mass hearts of black people" (Toomer 50). ", there is a clear distinction made between John and the others. John is called a "Dictie" (Toomer 51), a slang term for an upper-class African-American person who tends to participate in more traditionally white activities. Dorris also considers her social status in relation to hers, when she begins to think: "Am I not as good as him? Couldn't I have had an educated man?" had wanted one? Don't I know respectable people... Haven't I had men?.