In Love & Trouble: Storiesby Alice Walker
Here are stories of women traveling with the weight of broken dreams, with kids in tow, with doubt and regret, with memories of lost loves,/b>/i>
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From the bestselling author of The Color Purple comes a powerful collection of stories following women as they bravely seek liberation from painful realities, including the story “Everyday Use.”
Here are stories of women traveling with the weight of broken dreams, with kids in tow, with doubt and regret, with memories of lost loves, with lovers who have their own hard pasts and hard edges. Some from the South, some from the North, some rich and some poor, the characters that inhabit InLove & Trouble all seek a measure of self-fulfillment, even as they struggle with difficult circumstances and limiting social conventions.
The stories that make up Alice Walker’s debut short fiction collection reflect her tenacious commitment to face brutal and sometimes melancholy truths while also illuminating the ways in which the courageous pursuit of love brings hope to even the most harrowing lives.
This ebook features an illustrated biography of Alice Walker including rare photos from the author’s personal collection.
“One of the most important, graceful, and honest writers ever to come into print . . .
This is a powerful, big, even a wild book.”—JUNE JORDAN, a u t h o r o f KISSING GOD GOODBYE
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In Love & Trouble
Stories of Black Women
By Alice Walker
OPEN ROAD INTEGRATED MEDIACopyright © 2001 Alice Walker
All rights reserved.
She dreams; dragging herself across the world. A small girl in her mother's white robe and veil, knee raised waist high through a bowl of quicksand soup. The man who stands beside her is against this standing on the front porch of her house, being married to the sound of cars whizzing by on highway 61.
we are gathered here
Like cotton to be weighed. Her fingers at the last minute busily removing dry leaves and twigs. Aware it is a superficial sweep. She knows he blames Mississippi for the respectful way the men turn their heads up in the yard, the women stand waiting and knowledgeable, their children held from mischief by teachings from the wrong God. He glares beyond them to the occupants of the cars, white faces glued to promises beyond a country wedding, noses thrust forward like dogs on a track. For him they usurp the wedding.
in the sight of God
Yes, open house. That is what country black folks like. She dreams she does not already have three children. A squeeze around the flowers in her hands chokes off three and four and five years of breath. Instantly she is ashamed and frightened in her superstition. She looks for the first time at the preacher, forces humility into her eyes, as if she believes he is, in fact, a man of God. She can imagine God, a small black boy, timidly pulling the preacher's coattail.
to join this man and this woman
She thinks of ropes, chains, handcuffs, his religion. His place of worship. Where she will be required to sit apart with covered head. In Chicago, a word she hears when thinking of smoke, from his description of what a cinder was, which they never had in Panther Burn. She sees hovering over the heads of the clean neighbors in her front yard black specks falling, clinging, from the sky. But in Chicago. Respect, a chance to build. Her children at last from underneath the detrimental wheel. A chance to be on top. What a relief, she thinks. What a vision, a view, from up so high.
in holy matrimony.
Her fourth child she gave away to the child's father who had some money. Certainly a good job. Had gone to Harvard. Was a good man but weak because good language meant so much to him he could not live with Roselily. Could not abide TV in the living room, five beds in three rooms, no Bach except from four to six on Sunday afternoons. No chess at all. She does not forget to worry about her son among his father's people. She wonders if the New England climate will agree with him. If he will ever come down to Mississippi, as his father did, to try to right the country's wrongs. She wonders if he will be stronger than his father. His father cried off and on throughout her pregnancy. Went to skin and bones. Suffered nightmares, retching and falling out of bed. Tried to kill himself. Later told his wife he found the right baby through friends. Vouched for, the sterling qualities that would make up his character.
It is not her nature to blame. Still, she is not entirely thankful. She supposes New England, the North, to be quite different from what she knows. It seems right somehow to her that people who move there to live return home completely changed. She thinks of the air, the smoke, the cinders. Imagines cinders big as hailstones; heavy, weighing on the people. Wonders how this pressure finds its way into the veins, roping the springs of laughter.
If there's anybody here that knows a reason why
But of course they know no reason why beyond what they daily have come to know. She thinks of the man who will be her husband, feels shut away from him because of the stiff severity of his plain black suit. His religion. A lifetime of black and white. Of veils. Covered head. It is as if her children are already gone from her. Not dead, but exalted on a pedestal, a stalk that has no roots. She wonders how to make new roots. It is beyond her. She wonders what one does with memories in a brand-new life. This had seemed easy, until she thought of it. "The reasons why ... the people who" ... she thinks, and does not wonder where the thought is from.
these two should not be joined
She thinks of her mother, who is dead. Dead, but still her mother. Joined. This is confusing. Of her father. A gray old man who sold wild mink, rabbit, fox skins to Sears, Roebuck. He stands in the yard, like a man waiting for a train. Her young sisters stand behind her in smooth green dresses, with flowers in their hands and hair. They giggle, she feels, at the absurdity of the wedding. They are ready for something new. She thinks the man beside her should marry one of them. She feels old. Yoked. An arm seems to reach out from behind her and snatch her backward. She thinks of cemeteries and the long sleep of grandparents mingling in the dirt. She believes that she believes in ghosts. In the soil giving back what it takes.
In the city. He sees her in a new way. This she knows, and is grateful. But is it new enough? She cannot always be a bride and virgin, wearing robes and veil. Even now her body itches to be free of satin and voile, organdy and lily of the valley. Memories crash against her. Memories of being bare to the sun. She wonders what it will be like. Not to have to go to a job. Not to work in a sewing plant. Not to worry about learning to sew straight seams in workingmen's overalls, jeans, and dress pants. Her place will be in the home, he has said, repeatedly, promising her rest she had prayed for. But now she wonders. When she is rested, what will she do? They will make babies—she thinks practically about her fine brown body, his strong black one. They will be inevitable. Her hands will be full. Full of what? Babies. She is not comforted.
let him speak
She wishes she had asked him to explain more of what he meant. But she was impatient. Impatient to be done with sewing. With doing everything for three children, alone. Impatient to leave the girls she had known since childhood, their children growing up, their husbands hanging around her, already old, seedy. Nothing about them that she wanted, or needed. The fathers of her children driving by, waving, not waving; reminders of times she would just as soon forget. Impatient to see the South Side, where they would live and build and be respectable and respected and free. Her husband would free her. A romantic hush. Proposal. Promises. A new life! Respectable, reclaimed, renewed. Free! In robe and veil.
or forever hold
She does not even know if she loves him. She loves his sobriety. His refusal to sing just because he knows the tune. She loves his pride. His blackness and his gray car. She loves his understanding of her condition. She thinks she loves the effort he will make to redo her into what he truly wants. His love of her makes her completely conscious of how unloved she was before. This is something; though it makes her unbearably sad. Melancholy. She blinks her eyes. Remembers she is finally being married, like other girls. Like other girls, women? Something strains upward behind her eyes. She thinks of the something as a rat trapped, cornered, scurrying to and fro in her head, peering through the windows of her eyes. She wants to live for once. But doesn't know quite what that means. Wonders if she has ever done it. If she ever will. The preacher is odious to her. She wants to strike him out of the way, out of her light, with the back of her hand. It seems to her he has always been standing in front of her, barring her way.
The rest she does not hear. She feels a kiss, passionate, rousing, within the general pandemonium. Cars drive up blowing their horns. Firecrackers go off. Dogs come from under the house and begin to yelp and bark. Her husband's hand is like the clasp of an iron gate. People congratulate. Her children press against her. They look with awe and distaste mixed with hope at their new father. He stands curiously apart, in spite of the people crowding about to grasp his free hand. He smiles at them all but his eyes are as if turned inward. He knows they cannot understand that he is not a Christian. He will not explain himself. He feels different, he looks it. The old women thought he was like one of their sons except that he had somehow got away from them. Still a son, not a son. Changed.
She thinks how it will be later in the night in the silvery gray car. How they will spin through the darkness of Mississippi and in the morning be in Chicago, Illinois. She thinks of Lincoln, the president. That is all she knows about the place. She feels ignorant, wrong, backward. She presses her worried fingers into his palm. He is standing in front of her. In the crush of well-wishing people, he does not look back.CHAPTER 2
"Really, Doesn't Crime Pay?"
I sit here by the window in a house with a thirty-year mortgage, writing in this notebook, looking down at my Helena Rubenstein hands ... and why not? Since I am not a serious writer my nails need not be bitten off, my cuticles need not have jagged edges. I can indulge myself—my hands—in Herbessence nailsoak, polish, lotions, and creams. The result is a truly beautiful pair of hands: sweet-smelling, small, and soft....
I lift them from the page where I have written the line "Really, Doesn't Crime Pay?" and send them seeking up my shirt front (it is a white and frilly shirt) and smoothly up the column of my throat, where gardenia scent floats beneath my hairline. If I should spread my arms and legs or whirl, just for an instant, the sweet smell of my body would be more than I could bear. But I fit into my new surroundings perfectly; like a jar of cold cream melting on a mirrored vanity shelf.
"I have a surprise for you," Ruel said, the first time he brought me here. And you know how sick he makes me now when he grins.
"What is it?" I asked, not caring in the least.
And that is how we drove up to the house. Four bedrooms and two toilets and a half.
"Isn't it a beauty?" he said, not touching me, but urging me out of the car with the phony enthusiasm of his voice.
"Yes," I said. It is "a beauty." Like new Southern houses everywhere. The bricks resemble cubes of raw meat; the roof presses down, a field hat made of iron. The windows are narrow, beady eyes; the aluminum glints. The yard is a long undressed wound, the few trees as bereft of foliage as hairpins stuck in a mud cake.
"Yes," I say, "it sure is a beauty." He beams, in his chill and reassured way. I am startled that he doesn't still wear some kind of military uniform. But no. He came home from Korea a hero, and a glutton for sweet smells.
"Here we can forget the past," he says.
We have moved in and bought new furniture. The place reeks of newness, the green walls turn me bilious. He stands behind me, his hands touching the edges of my hair. I pick up my hairbrush and brush his hands away. I have sweetened my body to such an extent that even he (especially he) may no longer touch it.
I do not want to forget the past; but I say "Yes," like a parrot. "We can forget the past here."
The past of course is Mordecai Rich, the man who, Ruel claims, caused my breakdown. The past is the night I tried to murder Ruel with one of his chain saws.
Mordecai does not believe Ruel Johnson is my husband. "That old man," he says, in a mocking, cruel way.
"Ruel is not old," I say. "Looking old is just his way." Just as, I thought, looking young is your way, although you're probably not much younger than Ruel.
Maybe it is just that Mordecai is a vagabond, scribbling down impressions of the South, from no solid place, going to none ... and Ruel has never left Hancock County, except once, when he gallantly went off to war. He claims travel broadened him, especially his two months of European leave. He married me because although my skin is brown he thinks I look like a Frenchwoman. Sometimes he tells me I look Oriental: Korean or Japanese. I console myself with this thought: My family tends to darken and darken as we get older. One day he may wake up in bed with a complete stranger.
"He works in the store," I say. "He also raises a hundred acres of peanuts." Which is surely success.
"That many," muses Mordecai.
It is not pride that makes me tell him what my husband does, is. It is a way I can tell him about myself.
Today Mordecai is back. He tells a funny/sad story about a man in town who could not move his wife. "He huffed and puffed," laughed Mordecai, "to no avail." Then one night as he was sneaking up to her bedroom he heard joyous cries. Rushing in he found his wife in the arms of another woman! The wife calmly dressed and began to pack her bags. The husband begged and pleaded. "Anything you want," he promised. "What do you want?" he pleaded. The wife began to chuckle and, laughing, left the house with her friend.
Now the husband gets drunk every day and wants an ordinance passed. He cannot say what the ordinance will be against, but that is what he buttonholes people to say: "I want a goddam ordinance passed!" People who know the story make jokes about him. They pity him and give him enough money to keep him drunk.
I think Mordecai Rich has about as much heart as a dirt-eating toad. Even when he makes me laugh I know that nobody ought to look on other people's confusion with that cold an eye.
"But that's what I am," he says, flipping through the pages of his scribble pad. "A cold eye. An eye looking for Beauty. An eye looking for Truth."
"Why don't you look for other things?" I want to know. "Like neither Truth nor Beauty, but places in people's lives where things have just slipped a good bit off the track."
"That's too vague," said Mordecai, frowning.
"So is Truth," I said. "Not to mention Beauty."
Ruel wants to know why "the skinny black tramp"—as he calls Mordecai—keeps hanging around. I made the mistake of telling him Mordecai is thinking of using our house as the setting for one of his Southern country stories.
"Mordecai is from the North," I said. "He never saw a wooden house with a toilet in the yard."
"Well maybe he better go back where he from," said Ruel, "and shit the way he's used to."
It's Ruel's pride that is hurt. He's ashamed of this house that seems perfectly adequate to me. One day we'll have a new house, he says, of brick, with a Japanese bath. How should I know why?
When I told Mordecai what Ruel said he smiled in that snake-eyed way he has and said, "Do you mind me hanging around?"
I didn't know what to say. I stammered something. Not because of his question but because he put his hand point-blank on my left nipple. He settled his other hand deep in my hair.
"I am married more thoroughly than a young boy like you could guess," I told him. But I don't expect that to stop him. Especially since the day he found out I wanted to be a writer myself.
It happened this way: I was writing in the grape arbor, on the ledge by the creek that is hidden from the house by trees. He was right in front of me before I could put my notebook away. He snatched it from me and began to read. What is worse, he read aloud. I was embarrassed to death.
"No wife of mine is going to embarrass me with a lot of foolish, vulgar stuff," Mordecai read. (This is Ruel's opinion of my writing.) Every time he tells me how peculiar I am for wanting to write stories he brings up having a baby or going shopping, as if these things are the same. Just something to occupy my time.
"If you have time on your hands," he said today, "why don't you go shopping in that new store in town."
I went. I bought six kinds of face cream, two eyebrow pencils, five nightgowns and a longhaired wig. Two contour sticks and a pot of gloss for my lips.
And all the while I was grieving over my last story. Outlined—which is as far as I take stories now—but dead in embryo. My hand stilled by cowardice, my heart the heart of a slave.
Of course Mordecai wanted to see the story. What did I have to lose?
"Flip over a few pages," I said. "It is the very skeleton of a story, but one that maybe someday I will write."
"The One-Legged Woman," Mordecai began to read aloud, then continued silently.
The characters are poor dairy farmers. One morning the husband is too hung over to do the milking. His wife does it and when she has finished the cows are frightened by thunder and stampede, trampling her. She is also hooked severely in one leg. Her husband is asleep and does not hear her cry out. Finally she drags herself home and wakes him up. He washes her wounds and begs her to forgive him. He does not go for a doctor because he is afraid the doctor will accuse him of being lazy and a drunk, undeserving of his good wife. He wants the doctor to respect him. The wife, understanding, goes along with this.
However, gangrene sets in and the doctor comes. He lectures the husband and amputates the leg of the wife. The wife lives and tries to forgive her husband for his weakness.
Excerpted from In Love & Trouble by Alice Walker. Copyright © 2001 Alice Walker. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Meet the Author
Alice Walker (b. 1944), one of the United States’ preeminent writers, is an award-winning author of novels, stories, essays, and poetry. In 1983, Walker became the first African-American woman to win a Pulitzer Prize for fiction with her novel The Color Purple, which also won the National Book Award. Her other novels include The Third Life of Grange Copeland, Meridian, The Temple of My Familiar, and Possessing the Secret of Joy. In her public life, Walker has worked to address problems of injustice, inequality, and poverty as an activist, teacher, and public intellectual.
- Mendocino, California
- Date of Birth:
- February 9, 1944
- Place of Birth:
- Eatonton, Georgia
- B.A., Sarah Lawrence College, 1965; attended Spelman College, 1961-63
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I am a big Alice Walker fan and this book does not disappoint. The stories are inciteful and thought provoking. I saw myself many times and what better compliment than to indentify.
A good compilation of stories...some better than others.