As mentioned above, Walker uses this introductory letter to establish a sense of the isolation that Celie is experiencing as demonstrated in the way that she writes to God, for it becomes apparent that, she has no one else. The letters are therefore more of an act of faith to retain her spirits and to seek acknowledgement, rather than a way of simply recording her life;
‘Maybe you can give me a sign letting me known what is happening to me.’
This isolation, is a product of a constant negative environment, from which she finds no comfort in the maternal figure; ‘My mama she fuss at me an look at me’, or from the paternal figure, who constantly sexually abuses her; ‘ He start to choke me, saying You better shut up and git used to it’ . Produced by her emotion isolation Celie simply accepts the situation around her, which generates her low self esteem. Not until the seventh letter does Celie mention her own name, even when she introduces herself at the start of the first extract ‘ I am fourteen years old. I am I have always been a good girl.’
Although it cannot be directly drawn from the first extract in question, Celie’s spiritual belief is important to consider, as it develops greatly in the time between the first and second extracts. A product of her isolated and naïve character, Celie innocently focuses her belief on the image of an old white man, even though he is not of her race and social background. The way in which Celie declines to name characters during the extract, but to constantly refer to them as ‘she’ or ‘he’ shows a childhood innocence, and suggests that she does this out of the belief that god will know what she is talking about. By not ending the letter with the word ‘Amen’, a traditional Christian saying to mean ‘so be it’, it appears as though she does understand what is happening and therefore doesn’t accept it.
In second extract (Letter 34 – pg. 175) the development, emotionally and spiritually of Celies character can be clearly seen, in the transformation of her language and style, and the way in which she conducts herself towards the dominant patriarchal society which previously suppressed her. During the second extract, Celie confronts Albert about his obsessive treatment of her and the hiding of Nettie’s letters, as well as to tell him of her plans to go with Shug and start a new life’.
In contrast to the first extract in which she adopts a purely passive narrative voice, Celie is now able to articulate her emotions fluently to those around her. She does this through the coarse language and tone yet still retaining the uncomplicated narrator role; ‘ The jail you plan for me is the one in which you will rot, I say’. This is in vast contrast to the feeling of childhood innocence, found in the first extract, for now she expresses strong negative emotions. As a product of this, she losses the brief immediacy which Walker used to instil pathos in the reader, however her dialogue contains a number of effective statements and rebuttals, which makes the reader side with Celie. ‘Any more letters come? I ast.
He say, What?
You heard me, I say. Any more letters from Nettie come?.’
This new-founded conviction and ability to initiate conversation illustrates her inner strength and belief in herself to challenge others, thus in the eyes of the reader, she now appears equal to that of Albert as she openly confronts him. This conviction is absent from the character which is portrayed in the first extract. This extract is the most powerful between the two characters during the novel, and thus represents the climax of her emotional development.
Unlike the first extract, Celies letter appears grammatically more correct due to the guiding influence of Nettie, as no conjunctions or archaisms are found, allowing her to communicate fluently her emotions to the reader. It however must be noted that Celie retains some southern American dialectic traits, as small phonetic errors are still present; ‘ Any more letters come? I ast.’ Although she has grow in many facets, she still retains the root of who she is, an uneducated black women.
The letter, which Celie writes (addressed to Nettie) is considerably longer, and unlike before it is more focused on reflecting on and analysing an event in her life as she now has the emotional skills to do so; ‘ Well you know wherever there’s a man, there’s trouble’. Much of this inner strength is the product of a change in her spiritual beliefs
In contrast to the first extract, Celie address the letter to Nettie in whom she finds support rather than God, which serves as an immediate indication as to a change in her religious beliefs. Celie has lost the ‘simple devout Christian faith’, which provided her support in the early stages of the novel, and has adopted, through the influence of Shug, a less materialistic belief which is free from a common image. She now follows the belief that god is found in all living things and the beauty of nature.
‘… I Give it to him straight, just like it come to me. And it seem to come to me from the trees’ … ‘ 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 the words. ‘
The conversation is driven by her long suppressed rage, which is re-enforced by an overwhelming display of spirituality, which overtakes Celie; ‘And I come to myself’. In extract 1, Celie merely addressed God, as she had no one else in which to seek acknowledgement, and therefore it doesn’t drive her emotions. The way in which the extract is closed is important to illustrate the connection that has developed between Shug and Celie. Throughout the mid-section of the novel, Celie spiritually ‘feeds’ from Shug, and in the process adopts her beliefs concerning spirituality. It therefore is fitting that she is given the last words which mirror Celies beliefs; ‘Amen, say Shug, Amen, amen’, which act as a general confirmation to the feeling that Celie is still ‘here’
In comparison between the first and second extracts, the self-esteem level and the independence of Celie has grown significantly, as she has become empowered, not only spiritually but by her ability to make a new life for herself selling trousers. Through this activity she may now gain the acknowledgement which she lacked during her childhood years. During the second extract, Celie openly participates within the dialogue without assistance from those around, displaying her ability to foster her own ideas and concepts. The last paragraph in extract two is crucial is illustrating her development to the reader.
I’m pore, I’m Black, I may be ugly and can’t cook, a voice to everything listening. But I’m here’.
It can be seen that she accepts who she is within the world, as despite all the insults, she is still ‘here’ with her spirit and determination.
Alice Walker uses both extracts, through the stereotypical role the male characters adopt, to comment on the views of the male society with regard to women within the novel. Although in the first extract, the character of Albert is not present, he may be symbolically represented by Alphonso, as their views on women are consistent. Both men appear arrogant and have a lack in respect for women, both in terms of their role as child bearers and as sexual partners.
First Extract – ‘He [Alphonso] start to choke me, saying You better shut up and git used to it’
Second Extract – ‘Look at you. You Black, you pore, you ugly, you a woman. Goddam, he say, you nothing at all ‘
Both men see women as objects without emotions, alluding to the idea of slaves. In the case of Albert, his contempt for women obstructs his awareness of the true person (Celie) he married. It is only after he losses her during the second extract, does he realise a woman’s importance in life, and how dependant men are on them. It must be noted however, that to a certain extent there exist female characters within both extracts, namely Celie’s mother and Shug, which are able to assert some control over the male figure.
In conclusion, the two extracts represent different stages within the emotion and spiritual development of the protagonist, Celie. From a young naïve southern black girl she matures to independent, emotionally fluent woman capable of functioning freely within a male dominated society. In doing show, Alice Walker provides the reader with a stark image concerning the hostility and dominance of the male society over women during the time.
First extract – ‘Dear God, I am fourteen years old … But too sick to last’
Second extract – ‘ Dear Nettie, Well you know … Amen, say Shug. Amen, amen’
Towards the end of the novel after the second extract Albert’s views on women do change.
