Naming becomes a motif in God Help the Child. More specifically, both Sweetness and Bride use naming to project certain things about themselves, though not always for the best. When Sweetness explains why she told her daughter not to call her mother, she says:
I told her to call me "Sweetness" instead of Mother or Mama. It was safer. Being that black and having what I think are too-thick lips calling me Mama would confuse people.
In an example of situational irony, Bride's success at Sylvia, Inc. involves being reduced to little more than the color of her skin. Indeed, vaulting to the regional manager position depends on conforming to the very gaze that originally diminished her. Jeri, her stylist, puts her finger on this dynamic, saying:
Unlock with LitCharts A+“Black sells. It’s the hottest commodity in the civilized world. White girls, even brown girls have to strip naked to get that kind of attention.”
While driving to Whiskey to find Booker, Bride thinks about their relationship. The narrative uses a somewhat unexpected metaphor to characterize their bond and its impact on Bride:
Unlock with LitCharts A+The reason for this tracking was not love, she knew; it was more hurt than anger that made her drive into unknown territory to locate the one person she once trusted, who made her feel safe, colonized somehow. Without him the world was more than confusing—shallow, cold, deliberatly hostile. Like the atmosphere in her mother's house where she never knew the right thing to say or remember what the rules were.
Morrison closes the novel by returning to the voice that opened it: Sweetness. Triggered by a letter announcing Bride’s pregnancy by Booker, Sweetness’s narration of the final line is a tragic moment of situational irony:
Unlock with LitCharts A+Good luck and god help the child.