The Color Purple by Alice Walker

FIRST PUBLISHED: 1982

TYPE OF WORK: Novel

TYPE OF PLOT: Social realism

TIME OF PLOT: 1920s–40s

LOCALE: Georgia, Tennessee, and Africa

Principal Characters

Celiethe novel’s narrator-protagonist

Mr.——her husband

Shug Averyher husband's longtime mistress

Nettieher younger sister

HarpoMr.——’s eldest son by a previous marriage

SofiaHarpo’s wife

The Story

Celie, a poor, barely literate young Black woman living in rural Georgia, is raped and impregnated by a man she assumes is her father when she is fourteen years old. A short time later, Celie’s mother dies, and Pa, her stepfather, takes Celie’s children away, removes her from school, and marries her off to a poor farmer she calls Mr.——. She becomes the stepmother of his four children by a previous marriage, and she becomes his slave. When his son, Harpo, asks him why he beats his wife, he says that he does it because she is his wife and because she is stubborn.

87575320-87955.jpg

Far from rebelling against her treatment by Mr.——, Celie accepts her abuse and neglect. Having been called ugly and worthless so often by both her stepfather and her husband, Celie comes to accept their view of her. Whatever hope she possessed early in life is directed outward in two directions: toward God and toward her sister, Nettie. By writing letters to both, Celie asserts that she is still alive. Her real hope for life lies in Nettie, to whom she is very devoted and whom she helped escape when Mr.—— made advances to her and threatened to have someone marry her. While Celie believes that her own life is over, she hopes that Nettie—who has a similar intelligence and a love of learning—can escape; then she can live vicariously through Nettie. Nettie moves to Africa to become a missionary, and the sisters vow to write to each other; however, Mr.—— intercepts Nettie’s letters for many years.

Harpo marries Sofia and, modeling his behavior after his father, attempts to dominate her in the same way his father dominated Celie. Sofia is too strong and independent, however, to submit to his abuse. Though she later feels guilty for having betrayed Sofia by telling Harpo that if he wants to keep her in line he should beat her, Celie is actually jealous of Sofia’s strength.

When Mr.—— brings his mistress, Shug Avery, home to be nursed through an illness, Shug joins him in mocking Celie’s looks and submissive behavior. A growing closeness emerges between Celie and Shug, however; Shug is a strong, independent woman with a career as a blues singer. She teaches Celie many things: to stand up to Mr.——, to believe in her self-worth, to appreciate her own beauty, and to experience the joys of sexuality. Shug is the first person, besides the absent Nettie, to love Celie for who she is, and Shug and Celie band together to make Mr.—— end his abuse of Celie. With Shug’s encouragement, Celie defies Mr.—— and eventually curses him when she discovers that he kept Nettie’s letters from her. She leaves him, just as Sofia had left Harpo.

Shug takes Celie to her home in Memphis, Tennessee, and Celie begins a business making men’s trousers. Later, when Celie discovers that her stepfather left her and Nettie a house and a dry goods store in Georgia, she returns to Georgia as an independent woman.

Nettie’s letters from Africa indicate that the relationship between African men and women parallels the relationship between men and women in the American South. Nettie’s life in Africa is fulfilling and frustrating. Unlike Celie, she was able to escape the rural South, and she is educated by books and by the experience of a wider world. A sincerely religious person, she feels that she is doing important work as a missionary, but she is frustrated by her lack of success. Nettie, her family, and Celie’s children have to return to the American South to find integration into a true community. Like Celie, Nettie is frustrated by her lack of communication with her sister, but she develops a meaningful relationship with Samuel, another missionary. She later marries him.

At the conclusion of the novel, Nettie, her husband, and Celie’s long-lost children return to Georgia to live in the home that was left to Celie. The novel ends with a Fourth of July celebration that signifies the absorption of all the characters of the novel into a living, vital community.

Alice Walker's The Color Purple has gone on to inspire numerous adaptations. The 1985 film adaptation helmed by director Stephen Spielberg starred Whoopi Goldberg as Celie, Danny Glover as Mr. ——, and Oprah Winfrey as Sofia, launching the latter's career. While a popular and critical success, the film also proved controversial, in part for its predominantly negative portrayals of Black men.

The Color Purple would later be staged as a Broadway musical in 2005 and again in 2015 as a Tony Award–winning revival. An onscreen musical adaptation—inspired by the stage versions and with a new script drawn from the novel—was released in theaters in late 2023. That second film adaptation sought to address some of the criticisms leveled against the first, including artistic decisions by Black creatives (director Blitz Bazawule and screenwriter Marcus Gardley) and a more overt depiction of Celie and Shug's same-sex sexual relationship.

Bibliography

Bloom, Harold, editor. Alice Walker’s “The Color Purple.” Bloom’s Literary Criticism, 2008.

Butler-Evans, Elliott. Race, Gender, and Desire: Narrative Strategies in the Fiction of Toni Cade Bambara, Toni Morrison, and Alice Walker. Temple UP, 1989.

Davis, Thadious M. “Alice Walker’s Celebration of Self in Southern Generations.” Women Writers of the Contemporary South. Edited by Peggy Whitman Prenshaw, UP of Mississippi, 1984.

Dieke, Ikenna, editor. Critical Essays on Alice Walker. Greenwood, 1999.

Evans, Mari, editor. Black Women Writers (1950–1980): A Critical Evaluation. Anchor, 1984.

Gates, Henry Louis, Jr., and K. A. Appiah, editors. Alice Walker: Critical Perspectives Past and Present. Amistad, 1993.

Gurwara, Simmi. “From Self-Denigration to Self-Realization and Selfhood: A Study of Alice Walker's The Color Purple.” The IUP Journal of American Literature, vol. 4, no. 4, Nov. 2011, pp. 38–45.

Harris, Trudier. “From Victimization to Free Enterprise: Alice Walker’s The Color Purple.” Studies in American Fiction, vol. 14, 1986, pp. 1–17.

Hite, Molly. The Other Side of the Story: Structures and Strategies of Contemporary Feminist Narrative. Cornell UP, 1989.

Lang, Cady. “How the Color Purple Has Evolved throughout Its Many Adaptations.” Time, 25 Dec. 2023, time.com/6549154/the-color-purple-adaptations-movie-musical/. Accessed 1 Mar. 2024.

Lauret, Maria. Alice Walker. St. Martin’s, 2000.

Lewis, Christopher S. “Cultivating Black Lesbian Shamelessness: Alice Walker's The Color Purple.” Rocky Mountain Review, vol. 66, no. 2, 2012, pp. 158–75.

Pavel, Ecaterina. “Periculture and Postcolonialism: Inside The Color Purple.” Bulletin of the Transilvania University of Brasov, Series IV: Philology & Cultural Studies, vol. 4, no. 53, 2011, pp. 243–50.

Simcikova, Karla. To Live Fully, Here and Now: The Healing Vision in the Works of Alice Walker. Lexington Books, 2007.

Singh, Sonal. “Celie's Emancipation in the Novel The Color Purple.” International Transactions in Humanities & Social Sciences, vol. 2, no. 2, July 2010, pp. 218–21.

Tanritanir, Bülent Cercis. “Letter-Writing as Voice of Women in Doris Lessing's The Golden Notebook and Alice Walker's The Color Purple.” Journal of Graduate School of Social Sciences, vol. 15, no. 1, June 2011, pp. 279–98.