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For many readers the turning point of Alice Walker's The Color Purple occurs when Celie, the principal character, asserts her freedom from her husband and proclaims her right to exist: "I'm pore, I'm black, I may be ugly, and can't cook. . . . But I'm here" (187). Celie's claim is startling because throughout her life she has been subjected to a cruel form of male dominance grounded in control over speech. The novel's very first words alert us to the prohibition against speech served on Celie by her father: "You'd better not never tell nobody but God. It'd kill your mammy." Thus, Celie writes, addressing her letters to God because she has no one else to write to and because she knows she must never tell no "body." But even then Celie addresses her letters to the orthodox Christian God, another version of the father. In short, Celie's language exists through much of the book without a body or audience, just as she exists without a self or identity.

Finding the courage to speak is a major theme of The Color Purple. But the novel also suggests that speech cannot come from the hollow shell of selfhood that Celie presents early on. Thus, I would like to focus on [End Page 69] the discovery that must necessarily precede Celie's discovery of speech: the discovery of desire—for selfhood, for other, for community, and for a meaningful place in the Creation. The process of discovering or developing desire begins, for Celie, with the reappropriation of her own body, which was taken from her by men—first by her brutal stepfather and then passed on to her husband, Albert. The repossession of her body encourages Celie to seek selfhood and later to assert that selfhood through spoken language. During this process Celie learns to love herself and others and to address even her written language to a body, her sister Nettie, rather than to the disembodied God she has blindly inherited from white Christian mythology. The crucial scene, I will argue, in initiating this process is the mirror scene. In this scene Celie first comes to terms with her own body, thus changing her life forever.


One of the primary projects of modern feminism has been to restore women's bodies, appropriated long ago by a patriarchal culture, to them. Because the female body is the most exploited target of male aggression, women have learned to fear or even to hate their bodies. According to Adrienne Rich, women must overcome these negative attitudes if they are to achieve intellectual progress:

But fear and hatred of our bodies had often crippled our brains. Some of the most brilliant women of our time are still trying to think from somewhere outside their female bodies—hence they are still merely reproducing old forms of intellection.


Coming to terms with the body can be, for women, a painful experience. Alicia Ostriker, for example, notes that although among contemporary poets females are more likely to describe the body or to use it as a source of imagery than their male counterparts are, their images often focus on strangulation, cutting, mutilation, or depictions of "psychic hurt in somatic terms" (249). Consequently, women often think of their bodies as torn or fragmented, a pattern evident in Walker's Celie. To confront the body is to confront not only an individual's abuse but also the abuse of women's bodies throughout history; as the external symbol of women's enslavement, this abuse represents for woman a reminder of her degradation and her consignment to an inferior status.

As the subject of repeated rapes and beatings, Celie tries alternately to ignore and to annihilate her body. The latter is her strategy for defense against her husband's assaults:

He beat me like he beat the children. . . . It all I can do not to cry. I make myself wood. I say to myself, Celie, you a tree. That's how come I know trees fear man.


But Celie's ignorance of her...


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