A Feminist Criticism of Alice Walkers TH

MIDLANDS STATE UNIVERSITY
DEPARTMENT OF ENGLISH & COMMUNICATION
NAME: REG: MODE:
ERIC NTINI R137479Q CON
BABSON NDHLOVU R137393Z PARA
ALPHA KAZINGIZI R135920M PARA
LEARNMORE MANDIZVIDZA R136375Z PARA
MTHABISI NCUBE R136774G PARA
TECLA NDLOVU R134774Y CON
NKAZIMULO NDLOVU R133983F PARA
MUNASHE MAKARA R137600A CON
PRIVILEDGE NYAMAYARO R135303V PARA
MMELI NYONI R132946H PARA
MODULE: THEORIES OF LITERATURE
LECTURER: DR, T.JAVANGWE
PRESENTATION WRITEUP OF ALICE WALKER’S THE COLOR PURPLE

Feminist literary criticism is an integral way of analysing literary works. In light of the varied
developments in sex and gender studies, feminist literary criticism has emerged as an
essential tool of enquiry that examines the representation of females and exposes negative
female stereotypes embedded in male written works of art. However it is imperative to note
that feminist literary criticism does not merely attempt to expose the pernicious portrayal of
females in works of art by males, but actually feminist literary criticism also brings to the
fore the works of art written by female authors and examines how such texts contribute to the
consciousness of females. This write up will explore Alice Walker’s The Color Purple, by so
doing it will show in what ways the text exposes gender inequalities and contributes to the
consciousness of females.
“As a social movement, feminist criticism highlights the various ways women in particular
have been oppressed, suppressed and repressed…” (Bressler 2001). According to
Tyson(2008) feminist criticism occurred in three main phases, the first was the feminine
phase when women writers imitated the dominant tradition, then in 1880-1920 came the
feminist phase when women advocated minority rights and protested and then the 1920 phase
to today which is the female phase characterised by a rediscovery of women’s texts and
womanhood. The Color Purple is a text that fundamentally can be said to belong to the third
phase of feminist works of art. Alice Walker’s text The Color Purple reconciles feminism
with the concerns of the black community. The main canon in African American literature
was the exploration of racism and slavery of black people (Wilson 1998). The Color Purple is
a divergence from the canon. The text brings to the fore the concerns, oppression and plight
of black American women in post-slavery America.
The Color Purple essentially focused on the abuse of Celie by black men. The protagonist
Celie that one encounters in the opening pages of the text is in many ways different from the
Celie that one encounters at the closing pages of the text. Walker, in the opening pages shows
the severity of feminist injustice, by describing the repercussions of the main character being
raped and abused. In these opening pages of the book Celie is exacted to sexual, physical and
verbal abuse as noted in the following extract:
“I ast him to take me instead of Nettie while our new mammy sick. But he just ast me
what I’m talking bout. I tell him I can fix myself up for him. I duck into my room and
come out wearing horsehair, feathers, and a pair of our new mammy high heel shoes.
He beat me for dressing trampy but he do it to me anyway…” (Walker 1982).
She does not resist the abuse; she in a way feels the abuse is the natural way things should be.
However because of the influence of other women particularly Shug Avery and Sofia, Celie
develops confidence that reaches its climax in the closing pages of the text.
“Whoever heard of such a thing, say Mr. ____. I probably didn’t whup your ass
enough.
Every lick you hit me you will suffer twice, I say. Then I say, You better stop talking
because all I’m telling you ain’t coming
just from me. Look like when I open my mouth the air rush in and shape words.
Shit, he say. I should have lock you up. Just let you out to work.
The jail you plan for me is the one in which you will rot, I say.
I’ll fix her wagon! say Mr. ____, and spring toward me.
A dust devil flew up on the porch between us, fill my mouth with dirt. The dirt say,
Anything you do to me, already done
to you.” (Walker 1982).
This is development of confidence can be attributed to the ‘bond of sisterhood’ that Celie
develops with Nattie, Shug and Sofia. This act of empowerment through emotional and
sexual teamwork is very suggestive of the importance of collaboration between women. One
can also note the growth of Celie’s consciousness as the story progressed which is one of the
main aims of feminist literature.
There is also white American racism that segregated black women and separated them from
the white women’s world. For example, the white male mayor’s physical attack of Sofia and
the continual spiritual rape and emotional abuse of Sofia by the mayor’s wife (a white
woman). Before the attack, Sofia had been proud and empowered—an unchallenged
entitlement. The mayor’s actions changed that; his assault affected Sofia both physically and
spiritually, and later his wife continued the abuse.
Shug’s sharing her understanding of God with Celie is the turning point in the novel that acts
as a wake-up call for Celie: “Now that my eyes opening, I feels like a fool” (Walker 1982).
The author has carefully brought Celie to the moment when she can find the strength and
courage within herself and “enter into the Creation” (Walker 1982). For the first time, Celie
has the power to actively change and better her life. Because Celie can finally confront Mr.
_____ about Nettie’s letters and curse him, “until you do right by me, everything you touch
will crumble” (Walker 1982). This is a far cry from the girl at the beginning of the novel who
cringed at all of life. Indeed, one of the happiest moments in the novel occurs when Celie
asserts, “but I’m here” (Walker 1982). The simple joy of being in the world successfully
brings the purpose of Walker’s structure to the forefront. A connection to her inner-strength
and a more internal God allows Celie a connection to the beautiful here and now of the world.
Nettie’s eyes are also opened concerning the essence of God via her years in Africa. Nettie
writes, “and not being tied to what God looks like, frees us” (Walker 1982). Even Mr. _____
becomes Albert in Celie’s eyes and Celie can learn to live without Shug. Celie observes, “I be
so calm” (Walker 1982). Celie has moved beyond the blind acceptance that history teaches in
order to reach a greater and more personal version of the truth.
Conclusively The Color Purple is the perfect novel to describe the Feminist Criticism
approach. Walker wrote about three very different black women and how each faced criticism
for being of the opposite sex. Celie was criticized for her appearance, and sexual relations,
and was forced to marry Mr. in an institutional marriage. Sofia was controlling and
demanding, but yet was criticized for not following by Harpo's definition of the traditional
female role. Finally, Shug Avery was the ultimate feminist symbol through her liberal
approach to life. This feminist literary approach is seen solely through these characters,
throughout the novel.
REFERENCES
Bressler, J. (2001) The Color Purple: Revisions and Redefinitions, New York: Chelsea
House Publishers
Tyson, B. (2008) Walker’s Celebration of Self in Southern Generations, New York:

Chelsea House Publishers
Walker, A. (1982) The Color Purple, New York: Pocket Books
Wilson, G. (1998) Letters to God: The Color Purple: Alice Walker, New York: Twayne
Publishers

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MIDLANDS STATE UNIVERSITY

DEPARTMENT OF ENGLISH & COMMUNICATION

NAME: REG: MODE:

ERIC NTINI R137479Q CON

BABSON NDHLOVU R137393Z PARA

ALPHA KAZINGIZI R135920M PARA

LEARNMORE MANDIZVIDZA R136375Z PARA

MTHABISI NCUBE R136774G PARA

TECLA NDLOVU R134774Y CON

NKAZIMULO NDLOVU R133983F PARA

MUNASHE MAKARA R137600A CON

PRIVILEDGE NYAMAYARO R135303V PARA

MMELI NYONI R132946H PARA

MODULE: THEORIES OF LITERATURE

LECTURER: DR, T.JAVANGWE

PRESENTATION WRITEUP OF ALICE WALKER’S THE COLOR PURPLE

Tyson, B. (2008) Walker’s Celebration of Self in Southern Generations, New York:

Walker, A. (1982) The Color Purple, New York: Pocket Books

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