Whether she is writing fiction or nonfiction, sharing personal reflections or expressing political views, Alice Walker is without question “one of [our] best American writers” (The Washington Post). The first African American woman to win a Pulitzer Prize—for The Color Purple—Walker is both a committed artist and engaged activist, as reflected in the four works in this volume.
Living by the Word: In this “entertaining and often stirring” follow-up to In Search of Our Mothers’ Gardens, Walker reflects on issues both personal and global, from her experience with the filming of The Color Purple, to the history of African American narrative traditions, to global threats of pollution and nuclear war (Library Journal).
You Can’t Keep a Good Woman Down: The women in these “consummately skillful short stories” face their problems head on, proving powerful and self-possessed even when degraded by others—sometimes by those closest to them (San Francisco Chronicle). But even as the female protagonists face exploitation, social inequalities, and casual cruelties, Walker leavens her stories with ample wit and “[enters] their experience with sympathy but without sentimentality” (The Washington Post).
In Love & Trouble: Walker’s debut short fiction collection features 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 “marvelous characters” that inhabit In Love & Trouble “come away transformed by knowledge and love but most of all by wonder” (Essence).
In Search of Our Mother’s Gardens: In essays both personal and political about her own work and other writers such as Zora Neale Hurston, Flannery O’Connor, and Jean Toomer; the Civil Rights Movement; antinuclear activism; feminism; and a childhood injury that left her emotionally scarred and the healing words of her daughter, Walker “reflects not only ideas but a life that has breathed color, sound, and soul into fiction and poetry—and into our lives as well” (San Francisco Chronicle).
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About 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.
Date of Birth:February 9, 1944
Place of Birth:Eatonton, Georgia
Education:B.A., Sarah Lawrence College, 1965; attended Spelman College, 1961-63
Read an Excerpt
April 17, 1984
The universe sends me fabulous dreams! Early this morning I dreamed of a two-headed woman. Literally. A wise woman. Stout, graying, caramel-colored, with blue-gray eyes, wearing a blue flowered dress. Who was giving advice to people. Some white people, too, I think. Her knowledge was for everyone and it was all striking. While one head talked, the other seemed to doze. I was so astonished! For what I realized in the dream is that two-headedness was at one time an actual physical condition and that two-headed people were considered wise. Perhaps this accounts for the adage "Two heads are better than one." What I think this means is that two-headed people, like blacks, lesbians, Indians, "witches," have been suppressed, and, in their case, suppressed out of existence. Their very appearance had made them "abnormal" and therefore subject to extermination. For surely two-headed people have existed. And it is only among blacks (to my knowledge) that a trace of their existence is left in the language. Rootworkers, healers, wise people with "second sight" are called "two-headed" people.
This two-headed woman was amazing. I asked whether the world would survive, and she said, No; and her expression seemed to say, The way it is going there's no need for it to. When I asked her what I/we could/should do, she took up her walking stick and walked expressively and purposefully across the room. Dipping a bit from side to side.
She said: Live by the Word and keep walking.CHAPTER 2
AM I BLUE?
"Ain't these tears in these eyes tellin' you?"*
For about three years my companion and I rented a small house in the country that stood on the edge of a large meadow that appeared to run from the end of our deck straight into the mountains. The mountains, however, were quite faraway, and between us and them there was, in fact, a town. It was one of the many pleasant aspects of the house that you never really were aware of this.
It was a house of many windows, low, wide, nearly floor to ceiling in the living room, which faced the meadow, and it was from one of these that I first saw our closest neighbor, a large white horse, cropping grass, flipping its mane, and ambling about — not over the entire meadow, which stretched well out of sight of the house, but over the five or so fenced-in acres that were next to the twenty-odd that we had rented. I soon learned that the horse, whose name was Blue, belonged to a man who lived in another town, but was boarded by our neighbors next door. Occasionally, one of the children, usually a stocky teen-ager, but sometimes a much younger girl or boy, could be seen riding Blue. They would appear in the meadow, climb up on his back, ride furiously for ten or fifteen minutes, then get off, slap Blue on the flanks, and not be seen again for a month or more.
There were many apple trees in our yard, and one by the fence that Blue could almost reach. We were soon in the habit of feeding him apples, which he relished, especially because by the middle of summer the meadow grasses — so green and succulent since January — had dried out from lack of rain, and Blue stumbled about munching the dried stalks half- heartedly. Sometimes he would stand very still just by the apple tree, and when one of us came out he would whinny, snort loudly, or stamp the ground. This meant, of course: I want an apple.
It was quite wonderful to pick a few apples, or collect those that had fallen to the ground overnight, and patiently hold them, one by one, up to his large, toothy mouth. I remained as thrilled as a child by his flexible dark lips, huge, cubelike teeth that crunched the apples, core and all, with such finality, and his high, broad-breasted enormity; beside which, I felt small indeed. When I was a child, I used to ride horses, and was especially friendly with one named Nan until the day I was riding and my brother deliberately spooked her and I was thrown, head first, against the trunk of a tree. When I came to, I was in bed and my mother was bending worriedly over me; we silently agreed that perhaps horseback riding was not the safest sport for me. Since then I have walked, and prefer walking to horseback riding — but I had forgotten the depth of feeling one could see in horses' eyes.
I was therefore unprepared for the expression in Blue's. Blue was lonely. Blue was horribly lonely and bored. I was not shocked that this should be the case; five acres to tramp by yourself, endlessly, even in the most beautiful of meadows — and his was — cannot provide many interesting events, and once rainy season turned to dry that was about it. No, I was shocked that I had forgotten that human animals and nonhuman animals can communicate quite well; if we are brought up around animals as children we take this for granted. By the time we are adults we no longer remember. However, the animals have not changed. They are in fact completed creations (at least they seem to be, so much more than we) who are not likely to change; it is their nature to express themselves. What else are they going to express? And they do. And, generally speaking, they are ignored.
After giving Blue the apples, I would wander back to the house, aware that he was observing me. Were more apples not forthcoming then? Was that to be his sole entertainment for the day? My partner's small son had decided he wanted to learn how to piece a quilt; we worked in silence on our respective squares as I thought ...
Well, about slavery: about white children, who were raised by black people, who knew their first all-accepting love from black women, and then, when they were twelve or so, were told they must "forget" the deep levels of communication between themselves and "mammy" that they knew. Later they would be able to relate quite calmly, "My old mammy was sold to another good family." "My old mammy was — —."
Fill in the blank. Many more years later a white woman would say: "I can't understand these Negroes, these blacks. What do they want? They're so different from us."
And about the Indians, considered to be "like animals" by the "settlers" (a very benign euphemism for what they actually were), who did not understand their description as a compliment.
And about the thousands of American men who marry Japanese, Korean, Filipina, and other non-English-speaking women and of how happy they report they are, "blissfully," until their brides learn to speak English, at which point the marriages tend to fall apart. What then did the men see, when they looked into the eyes of the women they married, before they could speak English? Apparently only their own reflections.
I thought of society's impatience with the young. "Why are they playing the music so loud?" Perhaps the children have listened to much of the music of oppressed people their parents danced to before they were born, with its passionate but soft cries for acceptance and love, and they have wondered why their parents failed to hear.
I do not know how long Blue had inhabited his five beautiful, boring acres before we moved into our house; a year after we had arrived — and had also traveled to other valleys, other cities, other worlds — he was still there.
But then, in our second year at the house, something happened in Blue's life. One morning, looking out the window at the fog that lay like a ribbon over the meadow, I saw another horse, a brown one, at the other end of Blue's field. Blue appeared to be afraid of it, and for several days made no attempt to go near. We went away for a week. When we returned, Blue had decided to make friends and the two horses ambled or galloped along together, and Blue did not come nearly as often to the fence underneath the apple tree.
When he did, bringing his new friend with him, there was a different look in his eyes. A look of independence, of self- possession, of inalienable horseness. His friend eventually became pregnant. For months and months there was, it seemed to me, a mutual feeling between me and the horses of justice, of peace. I fed apples to them both. The look in Blue's eyes was one of unabashed "this is itness."
It did not, however, last forever. One day, after a visit to the city, I went out to give Blue some apples. He stood waiting, or so I thought, though not beneath the tree. When I shook the tree and jumped back from the shower of apples, he made no move. I carried some over to him. He managed to half-crunch one. The rest he let fall to the ground. I dreaded looking into his eyes — because I had of course noticed that Brown, his partner, had gone — but I did look. If I had been born into slavery, and my partner had been sold or killed, my eyes would have looked like that. The children next door explained that Blue's partner had been "put with him" (the same expression that old people used, I had noticed, when speaking of an ancestor during slavery who had been impregnated by her owner) so that they could mate and she conceive. Since that was accomplished, she had been taken back by her owner, who lived somewhere else.
Will she be back? I asked.
They didn't know.
Blue was like a crazed person. Blue was, to me, a crazed person. He galloped furiously, as if he were being ridden, around and around his five beautiful acres. He whinnied until he couldn't. He tore at the ground with his hooves. He butted himself against his single shade tree. He looked always and always toward the road down which his partner had gone. And then, occasionally, when he came up for apples, or I took apples to him, he looked at me. It was a look so piercing, so full of grief, a look so human, I almost laughed (I felt too sad to cry) to think there are people who do not know that animals suffer. People like me who have forgotten, and daily forget, all that animals try to tell us. "Everything you do to us will happen to you; we are your teachers, as you are ours. We are one lesson" is essentially it, I think. There are those who never once have even considered animals' rights: those who have been taught that animals actually want to be used and abused by us, as small children "love" to be frightened, or women "love" to be mutilated and raped ... They are the great-grandchildren of those who honestly thought, because someone taught them this: "Women can't think," and "niggers can't faint." But most disturbing of all, in Blue's large brown eyes was a new look, more painful than the look of despair: the look of disgust with human beings, with life; the look of hatred. And it was odd what the look of hatred did. It gave him, for the first time, the look of a beast. And what that meant was that he had put up a barrier within to protect himself from further violence; all the apples in the world wouldn't change that fact.
And so Blue remained, a beautiful part of our landscape, very peaceful to look at from the window, white against the grass. Once a friend came to visit and said, looking out on the soothing view: "And it would have to be a white horse; the very image of freedom." And I thought, yes, the animals are forced to become for us merely "images" of what they once so beautifully expressed. And we are used to drinking milk from containers showing "contented" cows, whose real lives we want to hear nothing about, eating eggs and drumsticks from "happy" hens, and munching hamburgers advertised by bulls of integrity who seem to command their fate.
As we talked of freedom and justice one day for all, we sat down to steaks. I am eating misery, I thought, as I took the first bite. And spit it out.
Though it is more difficult to write about my father than about my mother, since I spent less time with him and knew him less well, it is equally as liberating. Partly this is because writing about people helps us to understand them, and understanding them helps us to accept them as part of ourselves. Since I share so many of my father's characteristics, physical and otherwise, coming to terms with what he has meant to my life is crucial to a full acceptance and love of myself.
I'm positive my father never understood why I wrote. I wonder sometimes if the appearance, in 1968, of my first book, Once, poems largely about my experiences in the Civil Rights movement and in other countries, notably African and Eastern European, surprised him. It is frustrating that, because he is now dead, I will never know.
In fact, what I regret most about my relationship with my father is that it did not improve until after his death. For a long time I felt so shut off from him that we were unable to talk. I hadn't the experience, as a younger woman, to ask the questions I would ask now. These days I feel we are on good terms, spiritually (my dreams of him are deeply loving and comforting ones), and that we both understand our relationship was a casualty of exhaustion and circumstances. My birth, the eighth child, unplanned, must have elicited more anxiety than joy. It hurts me to think that for both my parents, poor people, my arrival represented many more years of backbreaking and spirit-crushing toil.
I grew up to marry someone very unlike my father, as I knew him — though I feel sure he had these qualities himself as a younger man — someone warm, openly and spontaneously affectionate, who loved to talk to me about everything, including my work. I now share my life with another man who has these qualities. But I would give a lot to be able to talk grownup to grownup with Daddy. I'd like to tell him how hard I am working to understand. And about the humor and solace I occasionally find (while writing The Color Purple, for instance, in which some of his early life is imagined) in the work.
beat me because I could not stop crying.
He'd had enough "fuss"
he said for one damn voting day.
In my heart, I have never wanted to be at odds with my father, but I have felt, over the years, especially when I was younger, that he gave me no choice. Perhaps if I could have relaxed and been content to be his favorite, there would have been a chance for closeness, but because a sister whom I loved was clearly not favorite material I did not want to be either. When I look back over my life, I see a pattern in my relationships going back to this, and in my love relationships I have refused men who loved me (at least for a time) if they in turn were loved by another woman but did not love her in return. I am the kind of woman who could positively forbid a married lover to leave his wife.(Continues…)
Excerpted from "Collected Essays, Prose, and Stories"
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Table of Contents
LIVING BY THE WORD,
Journal (April 17, 1984),
Am I Blue?,
Trying to See My Sister,
The Dummy in the Window,
Longing to Die of Old Age,
The Old Artist,
My Big Brother Bill,
Journal (August 1984),
Coming In from the Cold,
Oppressed Hair Puts a Ceiling on the Brain,
In the Closet of the Soul,
Journal (August 1983, October 1983, January 1984),
A Name Is Sometimes an Ancestor Saying Hi, I'm with You,
A Thousand Words,
Journey to Nine Miles,
My Daughter Smokes,
On Seeing Red,
Journal (February 12, 1987),
Not Only Will Your Teachers Appear, They Will Cook New Foods for You,
Everything Is a Human Being,
"Nobody Was Supposed to Survive",
All the Bearded Irises of Life,
Why Did the Balinese Chicken Cross the Road?,
Journal (June, September 1987),
The Universe Responds,
YOU CAN'T KEEP A GOOD WOMAN DOWN,
How Did I Get Away with Killing One of the Biggest Lawyers in the State? It Was Easy.,
Advancing Luna-and Ida B. Wells,
A Letter of the Times, or Should This Sado-Masochism Be Saved?,
A Sudden Trip Home in the Spring,
IN LOVE & TROUBLE,
"Really, Doesn't Crime Pay?",
Her Sweet Jerome,
The Child Who Favored Daughter,
The Revenge of Hannah Kemhuff,
The Welcome Table,
Strong Horse Tea,
The Diary of an African Nun,
We Drink the Wine in France,
To Hell with Dying,
IN SEARCH OF OUR MOTHERS' GARDENS,
Saving the Life That Is Your Own: The Importance of Models in the Artist's Life,
The Black Writer and the Southern Experience,
"But Yet and Still the Cotton Gin Kept on Working ...",
A Talk: Convocation 1972,
Beyond the Peacock: The Reconstruction of Flannery O'Connor,
The Divided Life of Jean Toomer,
A Writer Because of, Not in Spite of, Her Children,
Gifts of Power: The Writings of Rebecca Jackson,
Zora Neale Hurston: A Cautionary Tale and a Partisan View,
Looking for Zora,
The Civil Rights Movement: What Good Was it?,
The Unglamorous but Worthwhile Duties of the Black Revolutionary Artist, or of the Black Writer Who Simply,
Works and Writes,
The Almost Year,
Choice: A Tribute to Dr. Martin Luther King, Jr.,
Coretta King: Revisited,
Choosing to Stay at Home: Ten Years after the March on Washington,
Good Morning, Revolution: Uncollected Writings of Social Protest,
Making the Moves and the Movies We Want,
My Father's Country Is the Poor,
Recording the Seasons,
In Search of Our Mothers' Gardens,
From an Interview,
A Letter to the Editor of Ms.,
Breaking Chains and Encouraging Life,
If the Present Looks Like the Past, What Does the Future Look Like?,
Looking to the Side, and Back,
To The Black Scholar,
Brothers and Sisters,
Only Justice Can Stop a Curse,
Nuclear Madness: What You Can Do,
To the Editors of Ms. Magazine,
Writing The Color Purple,
Beauty: When the Other Dancer Is the Self,
One Child of One's Own: A Meaningful Digression within the Work(s),
A Biography of Alice Walker,