Stunted Diction In The Color Purple

Strong writing can convey many concepts to the reader; however, weak writing works to convey emotions and ideas even more thoroughly. Alice Walker’s The Color Purple does not seem at first glance a literary classic; the writing is stunted and contains lapses in diction which are gradually remedied throughout the course of the book. Critics often clash as to whether this and other problems in the book could ever allow The Color Purple to rightfully earn a place in American literature. Some believe that this diction shows Celie’s growth succinctly, while others assert that it has less to do with type of writing and more to do with lack of skill. Alice Walker asserts voicelessness on her character by using stunted diction, and allows it to grow

However, Averbach would argue that Harris completely misses the point of the novel. While triumph and power are themes in the book, they are not the main moral of the story. The moral of the story is not only overcoming oppression, but learning to live without it. In the beginning of the book, “Celie is so immersed in oppression...she agrees with her oppressor in the idea that a woman should only obey, work and be silent.” Conversely, as she grows she begins to change the idea of who God is. She replaces “it by a less oppressive figure,” thus changing her feelings toward the side her oppressor. Before, she could not think of a time when the oppression that society thrust upon her would not be needed, therefore she could not live without it. Now, however, she becomes disillusioned enough to want a God to look up to who does not embody the face of her oppressor: a white male. Furthermore, the morality in The Color Purple does not stop at black woman issues. The book delves into lesbian relationships and queer issues, making a statement about morality and oppression in relationships such as those. Celie asserts about Shug only having eyes for men that “that the way it spose to be” (Walker 88). Then, later, as her relationship with Shug grows, they “kiss and kiss till [they] can’t hardly kiss no more” (Walker 127). This shows Celie’s growth from being ashamed of who she is and what she wants to being secure enough in her sexuality to finally give into her feelings for Shug. This is significant as it shows Celie’s growth past being frightened of the societal implications of loving women to being comfortable enough to be who she really is, even if it is only in