The Color Purple

Literary techniques & rhetorical situations in the COLOR PURPLE

Uses of Literary Techniques and Changes in Rhetorical Situations in Alice Walker's Novel the Color Purple

In the novel the Color Purple a literary technique as the story opens is that Alice Walker uses her main character Celie's initially halting and basic use of language (in both her verbal speech and in her letters to God) in ways that parallel (and underscore) Celie's own current lack of either self-confidence or ego development. Later the author uses another literary technique, storytelling (for example Celie and her female friends bond by telling stories to one another, while quilting or sewing, about themselves and other people).

In terms of an ever-changing rhetorical situation, Celie's rhetorical fluency is at first very lacking. However as Celie's bonds with her female friends strengthen and Celie's self-confidence increases as a result of her friendships, so does Celie's fluency with language. It is then that Celie's letter-writing to God becomes more confident and fluid - a considerable change and one that parallels the emergence of formidable new ego strength and selfhood within Celie as the novel ends.

But at first, Celie's letters to God are uncertain, hesitant, and very simple in their expression of ideas- similar, that is, to underdeveloped language use within someone much younger than Celie's 14 years. For example, in Celie's first letter (replete with crossed out words) she writes to God: "I am fourteen years old. I am [crossed out] I have always been a good girl. Maybe you can give me a sign letting me know what is happening to me" (p. 11). There is nothing, really, of Celie's self in this letter because Celie as of yet has no sense self, having never been encouraged or allowed to develop as an independent person. She has only been used and abused.

At the time that she writes her first letter to God Celie has already been long neglected and very seriously abused, sexually and emotionally. For instance she states, about her stepfather:

He never had a kine word to say to me. Just say You gonna do what your mammy wouldn't. First he put his thing up gainst my hip and sort of wiggle it around. Then he grab hold my titties. Then he push his thing inside my *****. When that hurt, I cry. He start to choke me, saying You better shut up and git used to it. (Walker, the Color Purple, p. 11)

Understandably then Celie's first letter to God reveals her feelings of helplessness and confusion about why she has endured what she has and still feels so alone. As the story continues, however, and these core questions and others begin to be answered, Celie's letters and her verbal expression slowly become more confident and fluent.

Because Celie idolizes Shug Avery she wants to make her a special quilt, out of affection.

At the start of this endeavor Celie writes, more fluently now to God:

Me and Sofia work on the quilt. Got it frame up on the porch. Shug Avery donate her old yellow dress for scrap, and I work in a piece every chance I get. it's a nice pattern called Sister's Choice. If the quilt turn out perfect, maybe I give it to her, if it not perfect, maybe I keep [emphasis added].

Walker, the Color Purple, p. 62)

The pattern name "Sister's Choice" points rhetorically toward sisterly closeness Celie feels toward Shug and Sofia based on bonding that has occurred during their conversations together. Earlier Celie has been submissive, meek, obedient, and not at all her own person. Now though, Celie's increased fluency of both verbal and written communication corresponds to and accompanies her bonding with Shug Avery and Sofia.

Metaphorically also, Celie has before now always felt 'ripped apart' from her deepest attachments: her sister; her mother; and as a result of that her own yearned-for sense of self that comes to a child only from close identification with and assurances from others who can be deeply trusted. In contrast, quilting and later sewing are ways of bringing separated things together and binding them to one another in order to form a new, more complete whole - not just pieces of fabric but people. Women telling each other stories while working together is a later rhetorical situation that now underscores strength, solidarity, and mutual trust among females.