The Color Purple Book ReviewViolet color book review
A few of them were sent to God.
Not an easy task, because her past works, which contain two fiction titles ("The Third Life of Grange Copeland" and "Medridian") in parallel to several volumes of poems and two anthologies of shorts, have almost unanimously praised Miss Walker as a well-wishers.
"Many of the different topics that run through her work so far are brought into the spotlight in "The Color Purple". "Above all, The Color Purple" is the tale of Celie, a poverty-stricken, scarcely educated South African girl who escapes the cruelty and humiliation of her males.
In her teens she is constantly being attacked and attacked by her step-father, then he forces her into a crude relationship with Albert, a widow with four orphans. For Albert, who is in passionate and resolutely independend blue vocalist Shug Avery, Celie is just a valet and an casual sex life.
As his eldest boy, Harpo, asks Albert why he hits Celie, he says simply: "Because she is my first-woman. "For a while, Celie accepted the misuse stoically: And he said, Celie, get the shirt-- I' m telling myself, Celie, you' re a pole. "But in the course of the novel, which begins in the early 1900s and ends in the mid-1940s, Celie liberates herself from the oppressive controls of her man.
Strengthened by her contact with other wives and her fondness for her younger sibling Netti - who escaped to Africa with Celies help and a mission group - Celie finally left Albert and moved to Memphis, where she founded a company that designs and manufactures cloth. It' s ironic that Ablert's true passion and at some point Lady Shug Avery and his rebel daughter-in-law Sofia are the ones who emotionally help Celies develop.
And again it is Celies new self-image that finally leads to Albert's reassessment of his own lives and a conciliation between the protagonists of the novel. When the book ends, Albert and Shug are sitting on Celies veranda with Celie, awaiting the advent of Netti and her wife and daughter.
The most striking is the alienation and brutality that characterize the relationship between Miss Walker's men and woman. Though this topic was addressed in the fictions of former US authors such as Zora Neale Hurston and Frankie and Johnny cartoons, it was largely ignored by most African authors until the early 1960s; at this point, the strongly felt need for a more open engagement with dark reality caused authors to question the long-standing bans of the dark mid-range against dramatization and thus the exposure of anything that could strengthen harmful racist stereotypes. As a result, there was a strong demand for a more open debate on it.
Recently, authors such as Toni Morrison, Toni Cade Bambara and Gayl Jones have written mighty fiction that, among other things, dramatizes the issue of the dispute between men and woman. Two tales ("Porn" and "Coming Apart") in her compilation "You Can't Keep a Good Woman Down" evaluate the discontent of sexuality among African pairs.
The holy protagonist of the novel "Meridian" is invited for dessert by a dark enthusiast, who then gets married to a bourgeois activist, whom he later leaves again. In" Meridian", however, the rubbing between men and woman is only one of several topics; in" The Color Purple", the main emphasis is on the dominance of men in the annoyance of each other.
Ms. Walker investigates the alienation of her men and wives through a triangle-like romanticism. It' Shug Avery who compels Albert to stop brutalising Celie, and it is Shug with whom Celie first has a satisfactory and mutually supportive rapport. "I' m not surprised you like Shug Avery," says Albert Celie.
"I' ve loved Shug Avery all my lifeth-- and not her.... some women would just like to have heard that they say he hit his woman because she wasn't her. But Shug stood up for you, Celie.
Says, Albert, you mistreated someone I loved. As far as you're concerned, I'm gone. The majority of the epistles that make up this novel come from Celie, although Netti's correspondences are contained in the last part of the book. Some of the reader may at first be put off by Celie's gaze on the outside wide open, especially since her writings are in the vernacular and from the point of views of a naïve, illiterate youth:
Later in the novel, as Celie gains exposure, her observation becomes clearer and more informative; the epistles take on authoritarianism and the vernacular, once adopted, takes on its own cadenza: a lyric cadence: First of all, he loves Shug. And, two, Shug has always loved him. Now when you speak to him, he really listens, and once, out of nothing in the discussion we had, he said to Celie, I'm happy when I'm living on earth as a normal person for the first tim.
There' is Shug Avery, whose arrogance, autonomy and zest for life act as a catalyser for Celie and others, and Sofia, whose insurgent mind not only makes her leave her overpowering spouse, but also challenges the racial order in which she sojourns. As they appear after Celie's intensively submissive vocal was set up, they appear dull and obtrusive.
" Watkins is publisher of the New York Times Book Review.