In the short story "Gorilla, My Love", author Toni Cad Bambara tells a story about the way children scrutinize little white lies. Bambara tells the story as if a child were speaking from the first point of view. At the beginning of the story one might find it hard to believe that Hazel's end will be reduced to tears. Even though it is unquestionably easy to get scared, Hazel seems to be quite self-assured and confident. The following will reveal the fear, rebellion and love depicted in "Gorilla, My love". “Gorilla, My Love” provides a funny, yet touching look at a younger girl's first experience with unrequited love. To effectively master this story, the author uses a series of seemingly disjointed and random incidents, similar to the way a child would speak, to embellish Hazel's reaction to the news that her uncle plans to get married. Thunder Burns, as her friends call her, appears in the intervening story that Hazel tells to show how adults betray children. The thunder burns are not actually the agent of betrayal here, but rather the plug of the racist accused capitalist's betrayal. Hazel and her brothers, Big Brood and little Jason, paid their money to see a movie called Gorilla, My Love, only to be shown an old worn-out brown copy of the movie Jesus: "And I'm ready to kill, not because I have got nothing against Jesus. Except when you fixate on looking at a picture of gorillas you don't want to get messed up with Sunday school stuff” (Bambara 15 is briefly silenced by the weight of the power derived from the thunder, but not for long). with fighters like his brothers refusing the call, he storms into the manager's office and demands his money back. He sees his pale superiority and, in a comic diversion, informs... middle of paper... that he wants see and above all she discovers that her family, who taught her to hold people to their words was in fact like everyone else. "Gorilla, My Love", ends in a fake catastrophe with Hazel crying in the back seat posture because he can't see the map while crying. His grandfather steps on the accelerator because what else is there for an adult until an injustice has been committed, and no amount of comfort or explanation will help. He knows things will be okay, but Hazel can't know because she's in that liminal, powerful place of childhood where it's no longer possible to read maps. Maps that work for childhood do not apply to the adult world being examined. Nothing makes sense, she is afraid and furious, and those she loves can betray her without malice and with whom she just has to live.