Assignment, Women’s Writing
Siddharth Asthana, 21/1333
Q. Does "Colour Purple" subordinate the race question to the gender question?
Introduction
"The Colour Purple" by Alice Walker is a seminal work of literature that occupies a pivotal
place in the realm of women's writing. Published in 1982, this epistolary novel1 weaves a
compelling narrative through the letters of its protagonist, Celie, who chronicles her life
and experiences in rural Georgia during the early 20th century.
The significance of "The Colour Purple" in the context of women's writing is profound and
multifaceted. It serves as a powerful testament to the resilience and strength of women
in the face of adversity, exploring themes of female identity, sexuality, domestic violence,
and liberation. Furthermore, Walker's novel challenges traditional gender roles and
stereotypes, emphasizing the importance of female relationships and solidarity. Through
a close examination of this work, one can appreciate how it has contributed to reshaping
the literary landscape, offering a voice to marginalized women and establishing itself as
a critical milestone in feminist literature.
The novel also delves into the intricate tapestry of the African American experience,
particularly the intersecting struggles of race and gender. Through the narrative of Celie,
Walker addresses the pervasive racial discrimination and societal injustice experienced
by African Americans in the early 20th century.
The novel's prominence in light of the race struggle is profound. It provides an
unflinching portrayal of the systemic racism and brutal oppression faced by African
Americans during that era. Through vivid storytelling, it not only highlights the physical
and emotional suffering but also underscores the resilience and sense of agency of the
African American community. "The Colour Purple" becomes a crucial part of the larger
narrative of the civil rights movement, shedding light on the often-overlooked
experiences of African American women.
Race in the ‘Colour Purple’
From the outset, Celie's life is marked by racism. As an African American woman living in
a society dominated by white supremacy, she faces systemic racism and discrimination.
Celie's voice is marginalized, and she is subjected to violence and oppression due to her
race. Her experiences reflect the harsh reality that many African Americans endured
during this period. She is shown to hate herself and think she is ugly in part because of
her skin colour.
Another poignant example of racism in the novel is the relationship between Celie and the
white characters, such as Mr. and the Mayor. Mr.'s treatment of Celie is emblematic of
the racial power dynamic of the time. He objectifies her, viewing her as a subservient and
inferior being, solely due to her race. This is evident when he refers to Celie as "ugly"
and "useful" without considering her as a person with feelings and aspirations. Mr.'s
racism is ingrained in his actions, and it perpetuates a cycle of dehumanization.
Additionally, the character of Shug Avery provides an interesting contrast to the
prevailing racism. Shug, an African American blues singer, defies societal norms by
embracing her own identity and celebrating her culture. She is unapologetic about her
sexuality and independence, challenging the racial stereotypes placed on African
American women. Shug's character serves as a symbol of resistance against racism and
highlights the importance of self-acceptance and self-worth.
The novel also addresses the racial tensions within the African American community. The
character Sofia, Celie's stepdaughter-in-law, stands out as a symbol of defiance against
racism. Her strong personality and refusal to be subjugated by white authority result in
her imprisonment, illustrating the consequences of African Americans who dared to
challenge the status quo.
The novel also sheds light on the harsh reality of the time where African Americans had a
very limited scope of career options and hence lesser control over their lives. Farming
and working as ‘House Help’ are common choices of work amongst the community,
Although Harpo manages to open a Bar. For women, this scope is further limited, Women
have to either stay as Mothers or Perform in order to make a living, Similar to Squeak
and Shug Avery.
The situation appeared to be the same in Africa where the Olinka2 viewed African
Americans with indifference. Meanwhile the English rubber workers, who built roads
through the village and displaced the Olinka from their ancient land, had very little
concern for their people's history in Africa. The British felt that, because they were
developing the land, they "owned" it, and the African people who had lived there for
centuries were merely "backward" natives. It is only at the very end of the novel, after
Samuel, Nettie, and their family have returned from Africa, to Celie's home in Georgia,
that Celie and Nettie's entire family is able to come together and dine—a small gift, and
something that would be considered completely normal for the white families of that time
period, whose lives had not been ripped apart by the legacy of slavery and poverty.
The novel serves as a powerful critique of racial injustice, reflecting deeply the enduring
impact of racism in American history.
Gender in the ‘Colour Purple’
“Celie is doubly oppressed, in the sense that she is subordinated both as a woman and a
colonial object.”
The deeply graphic and traumatic nature of the novel is made clear right from the early
onset of the novel. Celie, having no one to vent to speaks her secrets to God. She is only
14 and she is being raped by her father, giving birth to two of his children.
“A baby boy called ‘Adam’, he took while I was sleeping, the other one a baby girl, he took
right out my arms”.
Celie continues to lead a solemn and heart-breaking life. Her mother dies, she is forced
to marry a stranger, and eventually stripped away from the only person who loved her, a
sister named Nettie. Once married, Celie is sexually molested and beaten by her husband,
she calls Mr. (Mister). In this way, Celie faces constant oppression, violence, and
exploitation by all of the men in her life. Her first male figure took advantage of her
sexually and her husband is physically violent and controlling. Both men humiliated her
and are emotionally abusive. Her father and husband both describe her using harsh
words such as, “ugly”, “fat”, “dumb”, “spoiled”, “poor”, and “stupid”. As a result, she is
forced to be subservient and submissive to her male oppressors.
While Celie shares most of her traumatic moments with the men that surround her, she
continues to develop meaningful relationships with the women that she meets throughout
her life, the first example of this is her sister Nettie. Nettie is shown to be confident and
outgoing, in stark opposition to Celie, who is underconfident and vulnerable. Nettie serves
as one of the first instances of positive reinforcements in Celie’s life when she teaches
her to read through the means of hiding. These lessons not only empower and save Celie
from further victimisation but also make her aware of the importance of liberalisation
and autonomy for women.
“All my life I had to fight. I had to fight my daddy, I had to fight my brothers, I had to fight
my uncles- a girl-child ain’t safe in a family of men. But I never thought I’d have to fight in
my own house. I love Harpo, God knows I do but I’ll kill him dead if I let him beat me”
Sofia, is Mr.’s son Harpo’s wife, making her Celie’s step-daughter in law. She is
considered to be deviant and wildly independent and refuses to be tamed by Harpo after
the marriage and it makes the situation difficult for the both of them. When Harpo comes
to Celie seeking advice on the matter, she tells him to start beating Sofia, this comes off
as a result of her experiences growing up, which further highlights the deep poignancy of
Celie’s life. However, Sofia refuses to be oppressed by Harpo and always fights back,
after she talks to Celie in the fields later in the novel, Celie learns about the
empowerment of woman and gender identity. Sofia refuses to live a life of oppression
and submission, and in her resolve becomes a very strong female figure in Celie’s life,
giving her an invaluable lesson on self-worth and value.
“Shug Avery was a woman. The most beautiful women I ever saw. She more pretty then
my mama. She bout ten thousand times more prettier than me.”
Amongst all the woman in Celie’s life, it is Shug Avery who teaches her to be empowered
by her sexuality and sexual identity. Shug is Mister’s mistress and represents
sexualization, promiscuity, and sexual stereotypes placed on women. She is an
entertainer and singer who finds power through her sexual identity. For this reason, Celie
is captivated by her. She teaches Celie about exploring her body and sexually empowers
her, we also find out that Celie does not have any feelings when she sleeps with Mr.
Through Shug, Celie is able to set herself on a path of to reclaim herself and her identity.
With friends to offer emotional and physical support, Celie is empowered. They are
present when she faces her oppressor. She threatens him, curses him, and then
internalizes the verbal abuse into something positive. In this way, the women Celie
gathers around her enable her to value herself as a person worthy of happiness,
facilitate knowledge of her past and present biological family and give her material and
emotional support to leave Mr., the penultimate act of Celie’s journey.
Does “Colour Purple” subordinate the race question to the gender question?
The Novel intricately weaves the intersections of race and gender throughout its
narrative. While the novel addresses both race and gender issues, it doesn't subordinate
one to the other; rather, it presents a nuanced exploration of how these facets intersect
and shape the characters' experiences. Walker skillfully navigates the complexities of
Celie's life, highlighting the struggles faced by African American women in the early 20th
century. The narrative's focus on Celie's personal growth and empowerment does not
diminish the significance of racial themes; instead, it provides a multifaceted perspective
on oppression and resilience.
(1) Epistolary Novel- The term "epistolary novel" refers to the works of fiction that
are written in the form of letters or other documents. "Epistolary" is simply the
adjectival form of the noun epistle, from the Latinized Greek for letter.
(2) The Olinka- The Olinka are a ficticious people. Nettie and the other missionaries
travel to Monrovia, Liberia--a country on the West coast of Africa. From there,
they travel by foot and canoe for four days until they come to the site of the
ficticious Olinka village. There is no indication that Walker based the Olinka on any
particular African tribe. She herself states that she was influenced greatly by the
oral tradition of her own family. It is likely that at least some of the
characteristics, customs and traditions of the Olinka are based on an
amalgamation of these stories.
