Claude Neal was 23 — a farmhand in Jackson County, Fla., who in 1934 was accused of raping and killing his white boss’s 20-year-old daughter, Lola Cannady. He was moved from jail to jail so white lynch mobs wouldn’t find him before the trial. But eventually they tracked him down in Alabama, holding the jailer at gunpoint and absconding with Neal. The news of his capture attracted a bloodthirsty crowd of as many as 3,000. Lest a riot ensue and someone get hurt — someone besides Neal — he was lynched by a group of six, who then dragged him behind a car to the Cannadys’ farm, where Lola’s family members took turns slashing and shooting his corpse. Onlookers stabbed at it, spit on it, ran their cars over it. His body was then driven back to town and strung up in an oak so that the full mob could have its way. People skinned him. His fingers were cut off and, eventually, jarred. He was set on fire.
O'Grady points out that we know she represents ' Jezebel and Mammy ' "and best of all, she is not a real person...", rather she is object to the objectified and excluded from sexual difference according to Freudian theory.  While Olympia looks directly at the viewer, her maid, too, is looking back.  In her essay " Mammy , Jezebel , Sapphire and Their Homegirls: Developing an Oppositional Gaze toward the Images of Black Women", Catherine West concludes that by claiming an oppositional gaze we can identify, criticize, resist and transform these and other oppressive images of Black women.