Name : Nisha Naveed

Roll : 154 (EB)

Reg : 2020-Gcwuf-3042

Submitted to: Mam Ammara

The colour purple

Title : “Unveiling Feminist Intersectionality in ‘The Purple Color’: Analysing Gender, Race, and Class
Dynamics

Abstract:

In her literary works, African-American author and feminism activist Alice Walker examines the
experiences of women of color in relation to cultural and historical circumstances. She supports people’s
rights regardless of their sexual orientation, color, or ethnicity and is an outspoken bisexual. Walker
explores the effects of race, class, and ethnicity on the lives of African-American men and women,
focusing on the intersectional oppression they experience. In her critically praised book “The Colour
Purple,” Walker deftly captures the depths of tyranny and social inequality. She creates characters that
represent the physical and psychological oppression that Black women endure, such as Celie, Shug,
Nettie, and Sofia. Throughout the story, Celie—who is initially portrayed as oppressed and abused—
undergoes a metamorphosis toward freedom and self-determination. By the book’s end, Celie has
transformed from a representation of weakness into a ray of hope and fortitude. She embraces her
physical and mental independence, letting go of the constraints of her past. The story comes to a close
with Celie reunited with her siblings and children, signifying her recovery of her agency and victory over
misfortune. Walker gives hope and motivation for conquering injustice by depicting Celie’s
transformation in a way that reflects the larger fight for female emancipation and self-determination
among underprivileged women.

Introduction:

Alice Malsenior Walker, an African-American author and feminist, earned popularity with her third novel,
“The Color Purple,” released in 1982. She was awarded the Pulitzer Prize and the 1983 American Book
Award for Fiction for her work. The story portrays the hardships of a mistreated and illiterate black lady
while examining feminist and empowerment themes. It has received praise for the deft usage of African
American vernacular and the well-developed female characters. “The Color Purple” honors the
achievement of a woman who overcomes sexism, racism, and social norms to reach self-actualization.
Drawing on her personal experience and supporting a range of viewpoints, Walker explores the lives of
women of color in society in her writings. She is renowned for being outspoken about being bisexual and
for having compassion for people of different racial, ethnic, and sexual orientations. Walker’s depiction
of female characters going through comparable struggles in her writings has been greatly impacted by
her early experiences with abuse and violence. With the help of folklore and traditional customs, “The
Color Purple” illuminates the exploitation and suffering that Black women and communities face in the
US. The novel explores the journey of a black woman seeking self-discovery and independence in the
face of violence and societal injustice through the figure of Celie. Celie is a symbol of the disadvantaged
and disenfranchised people in society who endure abuse from both Black and White people.

Literature review :

I had not expected the book to be as diverse as it was. Given that movie takes place in the 1930s South, I
expected it to explore racial issues, but I was surprised by how much of a feminist message it had. It was
tremendously inspiring to see the female characters take charge of their lives in spite of the obstacles in
their way, and it had a lasting impression on me. In addition, the narrative gained layers of complexity
that I had not anticipated due to the lesbian relationship and the nuanced examination of bisexuality.

I was confused at first about where the story was going. I had trouble determining the time period at
first and had to check it up before I could understand the historical context. The wide cast of supporting
characters also occasionally confused me because I had trouble remembering their individual parts in
the story or mixing them together.

But as the narrative went on, especially in the second portion, I noticed that my interest level increased.

The story seemed to pick up steam, becoming more unified and inspirational. Overall, even though the
book wasn’t what I had anticipated, I was greatly affected by its examination of feminism, race, and
sexuality.

Themes:

Through Jane, the main character of “The Purple Color,” themes of identity and self-discovery are
explored in great detail. Jane’s journey through the little town is a reflection of her effort to embrace her
true self and rebel against society norms. Along with tackling the intricacies of her relationships and the
prejudices of those around her, Jane also tackles issues of love, family, and the quest for belonging in this
book.

2. Characterization:

Jane is presented as a multifaceted, multifaceted character who struggles with her identity as a woman
of color in a community that is primarily made up of white people. Her struggles with racism, sexism,
and other types of prejudice, as well as outside obstacles, propel the story along. Jane’s love interests
and family members are examples of supporting characters who deepen the narrative and aid in Jane’s
development.

3. Setting:
“The Purple Color’s” small-town location influences the experiences and viewpoints of the characters in
addition to acting as a backdrop. The tight-knit society limits people’s independence while also offering a
sense of protection. The prejudices the community has toward women and people of color highlight the
difficulties Jane has in claiming her identity.

4. Narrative Style:

To fully immerse readers in Jane’s world, the author uses evocative language and vivid pictures.
Throughout the book, symbolism—such as the title “purple color”—is employed to elucidate deeper
meanings and feelings. Because of the contemplative and introspective narrative style, readers are able
to empathize deeply with Jane’s thoughts and emotions as she travels on her path to self-discovery.

5. Social Commentary:

“The Purple Color” is a moving analysis of racial, gender, and class concerns in modern society. The book
illustrates the structural inequalities and prejudices that marginalized communities encounter via Jane’s
experiences. The author challenges readers to consider their own prejudices and ideas critically by
tackling these topics head-on.

6-Critical Reaction:

“The Purple Color” has received high marks for its compelling narrative and provocative ideas from both
critics and readers. The novel’s complex depiction of identity and its applicability in the current social
and political environment have drawn praise from many.

Methodology:

Kimberlé Crenshaw’s theory of intersectionality provides a framework for understanding how various
dimensions of identity intersect and interact, shaping individuals’ experiences of privilege and
oppression. Here’s a detailed discussion:

1.Origin and Background: Crenshaw developed the concept of intersectionality in response to the
limitations of traditional feminist and civil rights movements, which often focused on single-axis forms of
oppression (such as gender or race) without acknowledging their intersections. She first introduced the
term in her 1989 paper “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of
Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics.

2.Understanding Intersectionality: Intersectionality recognizes that individuals occupy multiple social

positions simultaneously, such as race, gender, class, sexuality, disability, etc. These intersecting identities
shape individuals’ experiences of privilege and disadvantage in complex ways. For example, a black
woman may experience discrimination differently from a white woman or a black man due to the
intersection of race and gender.

3.Complexity of Oppression: Intersectionality highlights the interconnectedness of various forms of

oppression and discrimination. It acknowledges that systems of power and privilege operate
simultaneously and intersect in people’s lives. For instance, a poor transgender woman of color may face
discrimination based on her race, gender identity, socioeconomic status, and more, each
Analysis:

Patriarchal Society:

Walker discusses issues that are mostly derived from her personal experiences navigating a patriarchal
white society as a black woman. The book sheds light on the institutionalized discrimination that Black
women experience, especially in their own communities—a process Walker refers to as “de-
masculinization.” Celie, the protagonist of the story, experiences extreme persecution and patriarchal
domination before finding freedom in the end. Walker illustrates the widespread pain brought on by
societal restrictions and male supremacy through Celie and other female characters like Nettie, Shug,
and Sophia.

The narrative starts with Celie’s stepfather forcing her to remain silent and depriving her the ability to
express herself outside of writing letters to God. Her language both affirms her presence and brilliance
while simultaneously reflecting her mental anguish and pain. A lifeline for Celie, her relationship with
God affirms her identity in spite of the atrocities, such as rape and incestuous abuse, that she has
experienced.

Celie’s lack of power over her own body and life is demonstrated by her stepfather’s further exploitation
of her by presenting her to Mr. Albert. Celie’s sentiments of inadequacy and self-neglect are made worse
by frequent reminders of her alleged ugly appearance. Walker addresses the horrifying truth of women’s
history and current maltreatment, emphasizing the physical and sexual attacks that women have
experienced as emblems of their dehumanization and servitude.

Racist oppression:

Celie endures bigotry from Mr. ____, who has characteristics of a white nationalist, and is subjected to
taunts and denigration because of her color. Even though he is black, he supports white dominance and
bigotry against Celie by viewing her as less than human. Because of her past experiences with sexual
assault and persecution, Celie has a strong distaste for her own body. Her quiet is a result of her
acceptance of victimhood and fear of retaliation. Nonetheless, Celie finds comfort and starts to reclaim
her identity and ancestry as an African woman through her letters with Shug and Nettie. Walker
illustrates the intersectionality of sexism and racism that black women experience, emphasizing the
loyalty that black women frequently exhibit to black males in spite of their own experiences of
oppression. Walker emphasizes the oppression that black women face everywhere in “The Color Purple”
and her earlier works. She also highlights Celie’s story as a mirror of larger societal power relations and
cultural hegemony.

Sexisim in the Shade of Purple :

The female characters in Alice Walker’s “The Color Purple,” such as Celie, Shug, Nettie, and Sofia, who
endure both physical and psychological dominance, are subjected to widespread misogyny. The work is
well known for its potent indictment of male hegemony, especially with regard to the brutal
mistreatment of black women by black males. Walker’s story questions gender norms by showcasing
individuals who fight tyranny in a variety of ways.Walker offers a more comprehensive analysis of
American political concerns, especially the oppression experienced by black women, while also creating
an intimate portrait of these women’s lives through the use of the epistolary genre.

Celie’s experiences with her stepfather have left her vulnerable and oppressed, which is a perfect
example of the oppression women endure in a society where men predominate. In spite of this, Shug
and Sofia serve as role models for Celie in the book, which also features acts of resistance and
empowerment. Emphasis is also placed on the concept of sisterhood and female solidarity, underscoring
the power inherent in female relationships.

The novel also addresses the intersectionality of oppressions faced by black women, including the
control and exploitation of their sexuality. This control is evident in the characters’ experiences, such as
Celie being “sold” to Albert and the discussions about her and other women’s appearances and sexual
desirability. The regulation of black women’s sexuality serves to maintain a hierarchical social order
dominated by men. Walker’s portrayal of sexism in the novel reflects broader societal issues surrounding
gender, race, and class.

Male dominance:

Male dominance is a recurring theme in Celie’s life, the protagonist of Alice Walker’s well-known book
“The Color Purple.” The story, which takes place between the early 1900s and the mid-1940s, is told
through Celie’s letters to God, which share her experiences of being oppressed by men. Celie loses her
bodily autonomy when her stepfather, whom she first believes to be her biological father, repeatedly
rapes and impregnates her. Celie becomes little more than a servant and a sexual prop after being forced
into marriage to Albert.

Walker examines how masculine control is passed down through generations in the story as Albert
continues the harsh ways he was taught by his father. Celie eventually musters the bravery to oppose
Albert, though, with the help of the women in her life—especially her sister Nettie. After escaping
Albert’s hold on her, Celie sets out on a quest for autonomy and self-awareness, launching her own
clothing design company in Memphis.

The book also discusses more general societal issues such domestic abuse and the dissatisfaction that
comes with black women’s fight for independence in a world ruled by men. Shug Avery and Celie’s bond
develops into a source of strength and resistance against male tyranny as Shug stands up to Albert’s
harsh treatment of Celie.

Celie’s forced dropout from school and marriage to Albert afterward serve as more examples of how
oppressive male authority can be. Celie’s autonomy is gradually undermined by the men in her life, who
treat her like property and as little more than a servant. Celie eventually finds freedom from the abuse
and exploitation she experiences because she believes that God loves all people, including
underprivileged Black women like her.
The work explores the brutal reality of male dominance, but it also shows moments of redemption and
forgiveness, illuminating the complexity of interpersonal interactions and society standards at the time.
Celie’s capacity for forgiveness in the face of Albert’s prior transgressions highlights the pervasive
acceptance of male supremacy that was prevalent in the culture at the time.

Empowerment in the colour purple

In the hue Purple: In the book, Walker presents the craft of quilt-making, which she has personally
worked on. She writes, “I purchased some lovely blue, red, and purple fabric. My quilt started to grow.”
Of course, all of this was taking place. Shug, Albert, and Celie were getting to know one another. The act
of quilting represents female camaraderie, sisterhood, and unity. Walker’s appreciation and admiration
for black cultural traditions are evident in her reference of the quilting craft. Walker has stated that the
anonymous Black woman from Alabama who created the quilt that is displayed in the Smithsonian
Institution was “one of our grandmothers... an artist who left her mark in the only materials she could
afford, and in the only medium her position in society allowed her to use. Walker has been compared to
the artistic history that African-Americans inherited from their maternal ancestors through the metaphor
of quilting.

Walker has been compared to the artistic history that African-Americans inherited from their maternal
ancestors through the metaphor of quilting. Walker believes that this useful piece of art composed of
pieces of useless rags represents the creativity of a person with a strong sense of spirituality and
imagination: creating a kaleidoscopic and transient array by weaving, shaping, sculpting, or quilting is
similar to responding improvisatorily to chaos. It is a means of surviving and moving in the face of
dispersal. A patchwork quilt made lovingly and painstakingly from pieces of outgrown dresses, shredded
uniforms, torn petticoats, and old overalls is a notable example of a patterned wholeness in the African
diaspora. Together, Celie and Sofia have been sewing quilts. Celie helps Harpo overcome Sofia and
become obedient. After discovering Celia’s treachery, Sofia gives Celie’s handmade curtains back.
Subsequently, the two women’s relationship becomes peaceful through stitching. Shug starts to take an
interest in quilting as well. She takes a piece of cloth out of the basket at random. Expose it to the
sunlight. Scrowd. How did you sew this fucking thing? She said. I give her the square I’m working on and
begin working on another. She sews long, uneven stitches that make me think of the small uneven song
she sings reuniting via quilting is the lost relationship. Shug uncovers and enhances Celie’s aptitude at
tailoring pants. Celie’s life has advanced when she even forces her to wear pants. Albert refused to let
Shug bring Celie to Memphis with her when she insisted on doing so. Celie responds to him with
confidence and boldness, “You a lowdown dog is whet’s wrong, I say,” when he begins to say all kinds of
nasty things. Now is the moment to part from you and join the Creation. And I just need the welcome
mat made of your dead body . She reached the point where she could take no more of Albert’s
resistance.

She still feels the same way about her appearance: “I think Shug never loved me sometimes. I stand
there staring into the looking glass at my nude appearance. What could she adore? I make me look bad. I
used to straighten my hair, but now it’s short and kinky. No need to once Shug declares her affection for
it. I have dark skin. It’s simply my nose. My lips are just lips. My body is changing with age, just like the
body of any woman. There’s nothing particular to love about this place. No cuteness, no honey-colored
curly hair. Nothing new and innovative. Even so, my heart seems like it’s blossoming blood, therefore it
must be young and new . Celie is never able to accept Shag’s love for her. Celie also thinks she’s ugly,
and she bases this on the fact that she’s black. Walker regrets that being black is not given much weight.
She has disliked those who, due to their dark color, set themselves apart from their forefathers. She said
that those who are that uneducated will eventually eradicate themselves. “Because, as has been said, no
one can hate their source and survive.” Shug brings Celie with her when she goes somewhere. She views
her as an equal and a friend. When Celie tries to work for her, she even reprimands her. She said. You’re
not my housekeeper. That’s not why I brought you to Memphis. To love you and support you in getting
back on your feet, I brought you here . Shug establishes a strong bond with Celie despite being chastised
and referred to as a tramp, slut, hussy, heifer, and street cleaner. She transforms Celie into a different
person and helps her in her quest to forge a new identity in the feminine sphere. Shug gives Celie a
metamorphosis that helps her see God’s exquisite wonders. Walker’s definition of
“womanist”—“Womanist is to feminist as purple is to lavender”—indicates the relevance of the title.
Celie, the mistreated, humiliated, hated, and abused woman, is changed into a free, self-reliant lady who
resembles a stunning swan. She goes from being Hurston’s beast of burden and mule to declaring her
bodily and mental freedom and then getting back together with her sister and kids. She transitions from
being mistreated and exploited by others to starting her own company. She goes from living in the rear
room of the house where her stepfather assaulted her to living with her.

Empowerment in the colour purple

In the hue Purple: In the book, Walker presents the craft of quilt-making, which she has personally
worked on. She writes, “I purchased some lovely blue, red, and purple fabric. My quilt started to grow.”
Of course, all of this was taking place. Shug, Albert, and Celie were getting to know one another. The act
of quilting represents female camaraderie, sisterhood, and unity. Walker’s appreciation and admiration
for black cultural traditions are evident in her reference of the quilting craft. Walker has stated that the
anonymous Black woman from Alabama who created the quilt that is displayed in the Smithsonian
Institution was “one of our grandmothers... an artist who left her mark in the only materials she could
afford, and in the only medium her position in society allowed her to use. Walker has been compared to
the artistic history that African-Americans inherited from their maternal ancestors through the metaphor
of quilting.

Walker has been compared to the artistic history that African-Americans inherited from their maternal
ancestors through the metaphor of quilting. Walker believes that this useful piece of art composed of
pieces of useless rags represents the creativity of a person with a strong sense of spirituality and
imagination: creating a kaleidoscopic and transient array by weaving, shaping, sculpting, or quilting is
similar to responding improvisatorily to chaos. It is a means of surviving and moving in the face of
dispersal. A patchwork quilt made lovingly and painstakingly from pieces of outgrown dresses, shredded
uniforms, torn petticoats, and old overalls is a notable example of a patterned wholeness in the African
diaspora. Together, Celie and Sofia have been sewing quilts. Celie helps Harpo overcome Sofia and
become obedient. After discovering Celia’s treachery, Sofia gives Celie’s handmade curtains back.
Subsequently, the two women’s relationship becomes peaceful through stitching. Shug starts to take an
interest in quilting as well. She takes a piece of cloth out of the basket at random. Expose it to the
sunlight. Scrowd. How did you sew this fucking thing? She said. I give her the square I’m working on and
begin working on another. She sews long, uneven stitches that make me think of the small uneven song
she sings reuniting via quilting is the lost relationship. Shug uncovers and enhances Celie’s aptitude at
tailoring pants. Celie’s life has advanced when she even forces her to wear pants. Albert refused to let
Shug bring Celie to Memphis with her when she insisted on doing so. Celie responds to him with
confidence and boldness, “You a lowdown dog is whet’s wrong, I say,” when he begins to say all kinds of
nasty things. Now is the moment to part from you and join the Creation. And I just need the welcome
mat made of your dead body . She reached the point where she could take no more of Albert’s
resistance.

She still feels the same way about her appearance: “I think Shug never loved me sometimes. I stand
there staring into the looking glass at my nude appearance. What could she adore? I make me look bad. I
used to straighten my hair, but now it’s short and kinky. No need to once Shug declares her affection for
it. I have dark skin. It’s simply my nose. My lips are just lips. My body is changing with age, just like the
body of any woman. There’s nothing particular to love about this place. No cuteness, no honey-colored
curly hair. Nothing new and innovative. Even so, my heart seems like it’s blossoming blood, therefore it
must be young and new . Celie is never able to accept Shag’s love for her. Celie also thinks she’s ugly,
and she bases this on the fact that she’s black. Walker regrets that being black is not given much weight.
She has disliked those who, due to their dark color, set themselves apart from their forefathers. She said
that those who are that uneducated will eventually eradicate themselves. “Because, as has been said, no
one can hate their source and survive.” Shug brings Celie with her when she goes somewhere. She views
her as an equal and a friend. When Celie tries to work for her, she even reprimands her. She said. You’re
not my housekeeper. That’s not why I brought you to Memphis. To love you and support you in getting
back on your feet, I brought you here . Shug establishes a strong bond with Celie despite being chastised
and referred to as a tramp, slut, hussy, heifer, and street cleaner. She transforms Celie into a different
person and helps her in her quest to forge a new identity in the feminine sphere. Shug gives Celie a
metamorphosis that helps her see God’s exquisite wonders. Walker’s definition of
“womanist”—“Womanist is to feminist as purple is to lavender”—indicates the relevance of the title.
Celie, the mistreated, humiliated, hated, and abused woman, is changed into a free, self-reliant lady who
resembles a stunning swan. She goes from being Hurston’s beast of burden and mule to declaring her
bodily and mental freedom and then getting back together with her sister and kids. She transitions from
being mistreated and exploited by others to starting her own company. She goes from living in the rear
room of the house where her stepfather assaulted her to living with her lover in a large Memphis home
before going back to the house, land, and store she inherited. She goes from being Albert’s lapdog to
commanding his esteem and imparting sewing skills.

Intersectionality and “ The colour Purple”:

The investigation of intersectionality in “The Color Purple” illustrates how race, gender, sexuality, and
class intersect to influence the characters’ experiences. Characters like Celie and Sofia face oppression
and violence due to their race, highlighting the intersection of racism and sexism. Shug’s story sheds light
on the complexities faced by queer individuals within marginalized communities, showcasing the
intersection of race, gender, and sexuality.
The road that Celie took to overcome sexism and racism and regain her identity and voice exemplifies
the intersectional concept of personal emancipation. The characters successfully negotiate and oppose
the various forms of oppression they encounter via unity, defiance, and personal development; this
emphasizes the significance of identifying and resolving intersecting forms of oppression in society.

Kimberlé Crenshaw developed the notion of intersectionality, which highlights how different social
identities and oppressive institutions are intertwined. It recognizes that a variety of characteristics,
including race, gender, class, sexual orientation, and more, influence people’s experiences and that these
factors interact to create distinct forms of privilege and discrimination. “The Color Purple” by Alice
Walker serves as a strong tale that eloquently depicts the complexity of intersectionality.

In the story, the protagonist Celie, an African-American woman, suffers interlocking kinds of oppression.
As a black woman living in the early 20th century South, Celie experiences racism, misogyny, and
economic exploitation. Her experiences with violence, abuse, and marginalization in both the Black and
White communities are shaped by the intersections of her race and gender. For instance, Celie
encounters sexism and violence from men in her own community in addition to prejudice from white
characters such as Mr. ____, who views her essentially as a servant.

Celie’s socioeconomic situation also contributes to an additional layer of her persecution. She lacks the
resources and opportunities that those who are wealthier can access, making her impoverished and
illiterate. This economic disadvantage exacerbates her vulnerability and limits her ability to escape
abusive situations.

The novel also explores intersectionality through its portrayal of other characters, such as Shug Avery
and Sofia. Shug is a blues singer who experiences persecution due to her nonconformist lifestyle and
sexual orientation in addition to her gender. Celie’s friend Sofia deals with sexism and racism because
she is a black woman who defies gender norms.

Walker emphasizes the complexity of oppression and the ways in which systems of power interact to
marginalize particular groups through these characters and their overlapping identities. The story
emphasizes how crucial it is to understand these connections in order to combat inequality and promote
social justice. Through comprehending the intersections between different types of oppression, people
and communities can strive to establish more equitable and inclusive societies.

Conclusion:

Every strand in Alice Walker’s magnificent tapestry “The Color Purple” deftly stitches together a story
that goes beyond simple narration to become a mirror reflecting the depths of human struggle,
resiliency, and victory. Walker immerses readers in a world where racism and sexism collide, making
African American women in the South in the early 20th century victims of a crucible of oppression
through the lens of Celie’s journey.

A symphony of suffering, longing, and finally liberation is Celie’s story arc. From weathering the horrors
of abuse and exploitation to finding solace in the bonds of sisterhood and the discovery of her own
strength, Celie epitomizes the indomitable spirit of survival against all obstacles. Her transformation
from a helpless victim to a confident woman asserting her independence is proof of the transforming
potential of love, human resiliency, and unwavering growth potential.

Walker masterfully navigates hard subjects like as sexual identity, spirituality, and the intersectionality of
oppression with clarity and respect. She pushes readers to examine their own biases and prejudices by
questioning conventional gender roles and societal expectations through characters like Shug Avery and
Sofia. The novel’s examination of privilege and power relations serves as a powerful reminder of the
structural inequities that still exist in modern society.

However, “The Color Purple” has moments of profound beauty and hope that shine through the
darkness. It celebrates the enduring bonds of sisterhood, the healing power of forgiveness, and the
triumph of the human spirit over adversity. Readers of all ages and backgrounds can relate to Celie’s path
towards self-actualization since it is not simply her own. It is a global quest for empowerment.

We are left with awe and reverence for the human spirit’s resiliency as the novel’s last pages come to an
end, rather than a neatly wrapped bow. As an enduring masterpiece and literary lighthouse that shines
on the murkiest recesses of our collective consciousness, “The Color Purple” encourages us to work
toward a society in which every person is free to embrace their true selves and has a voice.

References :

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BELL, Bernard W. (1987). The Afro-American Novel and Its Tradition, USA: The University of
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The Afro-American Novel and Its Traditions Amherst:

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