“Dorris dances. She forgets her tricks. She dances
Glorious songs are the muscles of her limbs.
And her singing is of canebrake loves and mangrove feastings.
The walls press in, singing. Flesh of a throbbing body, they press close to John and Dorris. They close them in. John’s heart beats tensely against her dancing body. Walls press his mind within his heart. And then, the shaft of light goes out the window high above him. John’s mind sweeps up to follow it. Mind pulls him upward into dream.                     Dorris dances…”

Toomer, Jean. “Theater.” Cane. New York: Liveright, 2011. 71. Print.

This moment between Dorris and John is connected to other moments in the text through its motif of the “canebrake” and the “mangrove.” In particular, the “canebrake” connects Dorris to the character of Louisa in “Blood-Burning Moon” and highlights their common relationships to white men in positions of power.