Pecola comes to truly believe that the ugliness belongs to her, and like her family does the sofa, accepts her ugliness as a fact of her existence. She visualizes the ugliness contagion that originates from Cholly as a type of garment which each member of the family wears distinctly (39). Later in the narrative, Morrison uses the term “belonging” to describe the ugliness that dominates the Breedlove household. Whereas Claudia reacts to her doll with anger and destruction, though, rejecting its presence, the Breedloves simply seem to harbor an internalized resentment towards their furniture, but nonetheless accept it. Some objects, illustrated in the case of Claudia and her doll, or the Breedlove’s sofa, are imposed upon characters involuntarily, standing as metaphors for the oppressive social restraints they endure. Claudia maps out the social hierarchy determined by characters’ relations to property on pages 17-18, when she notes how Cholly Breedlove has propelled his family from the periphery of “renting blacks” into the wretched state of “outdoors.” When a character finds themselves “outdoors,” as Pecola does in this section, they are devoid of all possessions. Parallel to this process of not belonging, the author accentuates a hierarchy of personhood based upon another type of “belonging” – physical possessions and characters’ relations to them. Much of this book centers around social pariahs, predominantly through the story of Pecola Breedlove, and the process by which their society casts them aside.