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Loneliness is so central to McCullers’s exploration of self and community that she includes it in the title. The title from Scottish poet William Sharp’s poem “The Lonely Hunter,” in which a young woman mourning a lover considers joining him in death. The secondary characters in this novel project their loneliness onto John, falsely believing that he understands them because he possesses secret wisdom. They are mistaken because while John understands their words, he doesn’t understand the truth that is different for each person. John is not particularly insightful, unlike Biff, who is keenly observant of those around him. However, the characters do not believe that Biff has any special insight because they do not see him as an enigma. The characters seek John out when they need company, falsely believing that their beliefs about him mean that he comforts them from their loneliness. The pressures of these friendships have an adverse effect on John, who is ironically made lonelier because his so-called friends use him for their loneliness without considering how they can reach out to him and make him feel less alone. In featuring characters from diverse backgrounds who all suffer from loneliness, the novel is a larger social commentary about loneliness as a human condition. Each character is lonely in their own way, even though they also all have opportunities to find companionship.
Biff is alone though he is surrounded by customers and lives with his wife. When his wife passes away, Biff doesn’t miss her, but he does miss the presence she represented. This emphasizes that Biff never learned how to truly share his life with his late wife. His relationship with John is a coping mechanism rather than a real connection.
Mick is lonely though she is surrounded by family and boarders. Mick’s loneliness comes from her individual journey into young adulthood, which forces her to part with everything that she values. Mick loses her friendship with Bubber after he becomes George and retreats into silence, signifying his own coming of age, which happens tragically early. Mick is also lonely because of her musical intuition: Music speaks to her soul in ways people cannot, and she has no way to express this feeling to others.
Jake is lonely because he believes he is one of the only people in America who understands the evils and injustices of capitalism. However, Jake isolates himself because he antagonizes people and believes he is better than others, never making a real effort to get to know them. His nomadic lifestyle ensures that he will remain an outsider wherever he goes, a fact that he sees as part of his mission to educate the masses but that, in reality, is a way for him to escape accountability for his inability to follow through on the message he preaches.
Segregation and Jim Crow laws isolate Dr. Copeland, but he also struggles with loneliness because he pushes his family away with his strict ideology. Like Jake, Dr. Copeland sees himself as better than others; unlike Jake, Dr. Copeland practices what he preaches—education, integrity, and discipline—but to the extent that it alienates others. When Dr. Copeland is abused by the police, it is a wake-up call about what it means to be Black in America, and he joins the ranks of Black Americans whose humanity is stripped by institutions of white power. His growing identification with the Black community signifies hope, and his illness reunites him with the children, but these transformations do not settle Dr. Copeland’s sense of isolation and loneliness.
McCullers uses dreams as a symbol of loneliness. Mick has a reoccurring dream that she drowns in a sea of people. Jake has a recurring nightmare in which he carries a heavy basket atop his head but is so crowded by other people that he can’t lay his burden down. These dreams symbolize the psyche’s loneliness, the feeling that Mick and Jake are alone in the world even though they are surrounded by other people. McCullers also uses physical manifestations of loneliness, such as when John signs in his sleep and when Dr. Copeland struggles to breathe, which makes it difficult for him to articulate his thoughts and feelings.
American culture is largely shaped by religion despite its formation as a nation with a separation between church and state. Though other religions are tolerated, Christianity remains a fixture of American life, especially in the South. Harry is othered because of his Jewish heritage. Though he is welcomed into the community, people emphasize his Jewishness and use it to compartmentalize him. This happens to John as well. Searching for a reason to pinpoint John’s perceived wisdom, Dr. Copeland echoes rumors that John is Jewish. They use this to shroud John in the “mysticism” of a people and a religion they do not understand. Jewishness, therefore, equates to difference. It separates Harry and John from their community despite the fact that Harry doesn’t express his Jewish identity as central to his life, nor does John confirm that he is Jewish.
Christianity is the main pillar of spirituality in the American South. Portia encourages Mick to go to church because Portia is concerned about Mick’s future. Many chapters in Part 1 describe the quiet of the town on Sundays, when most people are at church. There is a relief in the usually charged air, a collective breath as the community takes a break from the stresses of the external world. The conflict between the internal and the external lives of individuals is also a spiritual question. Portia finds some peace through institutionalized religion. Portia learns religion from her mother, so her church is a connection to the loving mother and a rejection of her father. Dr. Copeland identifies his spirituality through his rejection of Christianity, which makes religion an important part of his life even though he doesn’t want it to be.
McCullers subverts Southern culture by exposing the ways in which humans find spirituality outside of institutionalized religion. Mick’s religion is music. The experience of hearing music triggers the same emotional response as a belief in a superior omniscient power. Mick may not have an interest in God, but she has a god of her own. Music provides an existential spiritual experience that keeps Mick’s experience in both corporeality and fantasy. Similarly, Jake makes a religion out of his socialism; he doesn’t need to believe in systems of power because he believes in individual power.
The novel shows that there are pros and cons to organized versus individualized spiritual practices. Organized religions provide community whereas individual spiritual experiences may be personally fulfilling but do not allow people to connect with others. McCullers doesn’t advocate for religion in this novel, but she doesn’t reject its importance to community. Instead, McCullers highlights that religion is not the only way of experiencing larger truths, and that humans are inherently interested in finding beliefs that transcend the smallness of their experience.
In The Heart is a Lonely Hunter, McCullers explores how persevering for dreams helps assuage loneliness.
Mick has a dream to become a musician, but she faces many obstacles due in large part to her poverty. Becoming a musician takes some money as lessons and instruments are expensive. Mick’s family struggles to stay afloat and faces even harsher financial issues after Baby’s shooting. The financial reality of Mick’s life prevents her from accessing formal training, but although money helps a musician learn their craft, wealth is not how musicians are made. Mick’s passion for music is intrinsic and unstoppable, so she finds other ways of learning music. When she can afford it, she has a girl at school teach her how to play the school piano. On her own, Mick writes music as best she can in a beloved notebook. Mick describes having an interior room where only John and music exist. Mick even gives up school to start making money, but as she takes on more adult responsibilities in her life, she continues to nurture her dream to become a musician. Mick’s dream is important to her coping with loneliness, growing up, and other external pressures. Life is difficult, but as long as Mick keeps her dream of music alive, she has something to look forward to.
Another character with a dream is Jake. Jake’s dream is harder to manifest because he wants societal change, and that includes many factors he can’t control. Unlike Mick’s dream, Jake’s dream is not achievable because he doesn’t take action. Jake considers himself a preacher of truth, but talking to others will not create change. Without any real action, Jake can live in the in-between world in which there is always another audience, always another town to drift through in name of social change. Jake may not want social change as much as he thinks he does because this preacher style of living gives him freedom of movement and the opportunity to be independent. The dream of societal change is the germination of an idea, but the real dream is to have a reason to continue traveling, talking, and thinking. Thus, no matter how difficult Jake’s struggles become (such as his alcoholism or his confrontations with other people), his dream of social change is an excuse for him to maintain a lifestyle he appreciates as freedom.
John doesn’t express any ambitions or goals, but his actions express that he wants companionship. He wants to be with Spiros, or at least, make other friends who are deaf. He wants someone to play chess with, someone with whom he can speak in sign language. This is not a dream so much as it is a need for his psychological well-being. John’s death by suicide emphasizes that without a dream and without Spiros, he feels helpless and without purpose. Compared to the characters who do have dreams that sustain them through dark times, John’s lack of a dream means that he feels he has nothing to live for. With a dream, McCullers implies, there is always the possibility of happiness.



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