Moreover, despite the fact the second letter is written more than nine months later than the first, Celie’s naiveté is still apparent. Celie describes herself as ‘big’ when she is pregnant. The child like use of this adjective is echoed when Celie makes no clear connection between her pregnancy and the sexual abuse. She is, essentially, an ignorant, unworldly minor.
By letter five, Celie’s understanding of life and her predicament in general is improving. This is displayed through her advice to her younger sister Nettie regarding marriage when she realises their father (Celie’s abuser) is becoming sexually interested in her also. Also, the shortness of the sentence that closes this letter, “I don’t bleed no more,” in terms of both length and tone further indicate that not only does Celie wearily accept her fate but she is also beginning to understand the female anatomy and the fact that her abuse has reduced her womanhood.
By the eighth letter, the reader begins to view Celie in a different light. Walker ensures that Celie’s natural intelligence begins to shine through. Her humour, albeit dark and ironic, is an indicator that Celie is still very much alive and in touch with herself despite her tragic life to date. Walker ensures there is a surge in Celie’s confidence by letter ten. This is the point Celie sees and recognises her daughter. Celie musters up the courage to actually speak to the child’s mother as an equal and questions her daughter’s heritage. Henceforth, he letters become longer and more intricate.
When Nettie comes to visit, she urges Celie to “fight,” Celie’s response to this is “…I don’t know how to….All I know is how to stay alive.” Despite the fact this account appears sad, it is ironic that although Celie thinks there is nothing special in her abilities, the reader is able to identify and praise her strengths. For anyone in her position, knowing how to stay alive is a huge achievement. This statement is echoed at the end of the twelfth letter. Celie is fiercely protective of what little she has. So when Kate, her sister in law, also urges her to fight, Celie says she won’t fight, “But I’m alive.” This strong statement is an insight into Celie’s character and shows how far this woman has come since the first letter when she was unable to even get her feelings across clearly on paper.
Although Celie has made some development, her world is still very small. She likens people to domestic images, for example, Sofia is described as a ‘good piece of furniture.’ By letter nineteen, Walker has developed Celie’s character by the expression of more emotions. Celie is able to convey humorous situations with adeptness and is also beginning to express jealousy against Sofia.
Additionally, Celie begins to understand the merits of female companionship and the ‘sisterhood.’ Walker’s language becomes more centred on activities that link women such as ‘quilt making.’ Celie begins to connect to Sofia on a different level and this is also mirrored in the friendship they form.
Yet despite all this, Celie is still essentially quite ignorant. In letter twenty two she professes ignorance for the “nasty women’s disease” and, therefore, sexual relations in general. This ignorance, however, does not necessarily extend to all of Celie’s knowledge. In letter twenty four, much of the language is focused on Albert’s weaknesses. This is quite an innovative move for Celie and this courage shows that whilst she is still essentially quite naïve, she is beginning to gain confidence and stature.
Sofia Ashraf
A2 English Lit.
