Published in 1983, In Search of Our Mothers' Gardens: Womanist Prose is a collection composed of 36 separate pieces written by Alice Walker. The essays, articles, reviews, statements, and speeches were written between 1966 and 1982.[1] Many are based on her understanding of "womanist" theory. Walker defines "womanist" at the beginning of the collection as "A black feminist or feminist of color. From the black folk expression of mother to female children and also a woman who loves other women, sexually and/or nonsexually. Appreciates and prefers women's culture. Committed to survival and wholeness of entire people, male and female. Womanist is to feminist as purple is to lavender."[2]
In addition to writing about womanhood and creativity, Walker addresses subjects such as nuclear weapons, anti-Semitism, and the Civil Rights Movement. In a 1984 review of the collection, Lynn Munro noted that: "Reading these essays not only gives one a clearer sense of Alice Walker but also countless insights into the men and women who have touched her life." As Munro put it, Walker "captures the voices of unsung heroines" with whom she has crossed paths.[3]
Part I
Essays in In Search of Our Mothers' Gardens Part I:
"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"
"Bash the Whites"
Within these essays, She speaks about her search for early black writers such as Rebecca Jackson. She speaks of unsung heroines whom she has come into contact with who wish to tell their stories; for example Mrs. Winson Hudson. Hudson, the director of a Headstart center, wished to tell her story so that people would know "the agitation she caused in her community…was not for herself or for any one group but for everybody in the county".[4] However, of all the writers she introduces, Zora Neale Hurston becomes a focal part in this section of essays.
As Walker begins to research the practice of voodoo by rural Southern blacks in the thirties, she becomes aware of Hurston's works. Other than white anthropologists with racist views, Walker finds no one other than Hurston studied voodoo extensively. Hurston's book Mules and Men, a collection of folklore, sparks Walker's interest immediately because it provides all the stories that Southern blacks "had forgotten or of which they had grown ashamed…and showed how marvelous, and, indeed, priceless, they are".[5] In her essay, "Looking for Zora," Walker speaks about her trip to Hurston's hometown of Eatonville, Florida, to discover the life of her ancestral teacher. Despite Hurston's notoriety, when she died in 1959, she was buried in an "unmarked grave in a segregated cemetery".[6] When Walker arrives in Florida, she purchases a tombstone that reads: "Zora Neale Hurston 'A Genius of the South' Novelist, Folklorist, Anthropologist 1901-1960". The line "a genius of the South" comes from a poem by Jean Toomer, whom Walker applauds for his "sensitivity to women and his ultimate condescension toward them".[7] Walker's exploration for the black writers of the past connects to her search for the kind of books that are underrepresented in American literature. She confirms this based on her referral to a comment by Toni Morrison: When Toni Morrison said she writes the kind of books she wants to read, she was acknowledging the fact that in a society in which 'accepted literature' is so often sexist and racist and otherwise irrelevant or offensive to so many lives, she must do the work of two. She said she must be her own model as well as the artist attending, creating, learning from, realizing the model, which is to say, herself.[8] Walker's search for 'models' is an attempt to "capture the voices" of writers who are often overlooked and/or forgotten such as Zora Neale Hurston.
Part II
In Part II of In Search of Our Mother's Gardens Alice Walker focuses on the Civil Rights Movement and the important leaders who made contributions to it. Through these essays, she also exemplifies how important the Civil Rights Movements' aims were for African Americans. Part Two includes the following essays:
"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"
"My Father's Country is Poor"
"Making the Moves and the Movies We Want"
"Good Morning, Revolution:Uncollected Writings of Social Protest"
"Choice: A tribute to Dr. Martin Luther King Jr."
"Coretta King: Revisted"
"Choosing to Stay at Home: Ten Years after the March on Washington"
"Lulls"
"Recording the Season"
"The Almost Year"
In many of these essays Walker describes her involvement in the Civil Rights Movement and explores the positives and negatives of the Civil Rights Movement's purpose. At the time of Civil Rights, Walker comprehends that she needs to make a change. She commences to take action by visiting several homes and handing out registration ballots so the privileged and underprivileged could vote. She met a Jewish law student named Mel Leventhal, who gave her inspiration to write "The Civil Rights Movement: What Good Was it?." Many people believed that Civil Rights Movement was dead. Alice Walker points out that if it is dead, she will explain why she believes that it is not. For many African Americans, the Civil Rights Movement gave them a sense of hope and freedom. She shows that whites would see the Civil Rights Movement as being dead because they did not have to go through the struggles and sacrifices that African-Americans had to encounter. They did not have to show interest because this movement was intended to help African-Americans to be equal and get the same rights as white people. White people already had the rights that the law granted and African Americans were still fighting for it. Besides that she points out that other ethnicities were unable to understand the significance behind the Civil Rights Movement and its importance for African Americans.
Of the Civil Rights Movement, Walker says, "It gave us history and men far greater than presidents. It gave us heroes. Selfless men of courage and strength, for our little boys and girls to follow. It gave us hope for tomorrow. It called us to life. Because we live, it can never die".[9] "Choice: A Tribute to Dr. Luther King Jr." emphasizes how much passion and respect Walker has for Dr. King. In this particular essay, she speaks from a restaurant that refused to serve African Americans in 1972. Walker is able to learn from Dr. King's experience because as an African American, she had to endure those same struggles. Walker's mother taught her and her siblings to embrace their culture but at the same time to move up north to escape the harsh realities of the South. Walker and her mother were present for Dr. King's infamous speech. Ultimately, this changes Walker's perspective on racism and the effects of the Civil Rights Movement within the African-American community. Dr. King's example greatly inspires Walker's viewpoint of how she sees the South.
The backlash of racial tension between blacks and whites were extreme. Dr. King was seen as a savior for the African-American community. Walker recalls, "He gave us continuity of place, without which community is ephemeral. He gave us home".[10] Due to her great admiration for Dr. King, she returns to the South to empower African-American communities.
In "The Almost Year", Alice Walker explains how the author Florence Randall explains how she wants blacks and whites to embrace one another. She clarifies that "she seeks to find a way in which black abused and poor and white privileged and rich can meet and exchange some warmth of themselves.[11] Walker's perspective is that if both blacks and whites can stop the racial equality that blacks and whites will not be divided. In this house, a black girl feels somewhat threatened being an all-white household. Due to these circumstances, Walker provides a sense of division between the black girl and the family that is providing a home for her to feel free. The black girl cannot embrace the warmth from the Mallory's family because she feels that all white people are to hurt black people. Walker explains how the Civil Rights Movement intended to bring both blacks and whites together. Walker wants to show how a black girl should not have to feel unequal when they are around white people.
Moreover, in "Coretta King: Revisited," Alice Walker describes an interview with Coretta Scott King. Walker presents her as more than a mother and wife; she is similar to her husband, and is making a conscientious effort to fight for equality and civil liberties for African Americans. Walker sees strength in King, a woman who just lost her husband due to the acts of violence from others. Walker finds it difficult to understand how a woman, who just lost a loved one to the brutality, could continue in the battle for Civil Rights. Walker praises the fact that Coretta Scott King did not just sit back but took actions to help with different campaigns. Walker converses with her on about "black people in power and the whites who work with them"[12] and Ms. King says, "I don't believe that black people are going to misuse power in the way it has been misused. I think they've learned from their experiences. And we've seen instances where black and white work together effectively".[13]
Part III
Part Three of In Search of Our Mothers' Gardens includes the following essays:
"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"
In part three, Walker addresses black women coping with self-worth and self-respect. It offers encouragement to future generations of Black men and women. Walker begins part III with a poem by Marilou Awiakta, also known as "Motheroot". In this section of the collection Walker is on a mental journey seeking ways to uplift the Black race. Along this exploration she uses literature of other Black poets and writers to gain a deeper insight on Black women in their era, which assisted Walker in understanding society in her era.
In the opening of "In Search of Our Mothers' Gardens", Walker quotes from Jean Toomer's Cane, taking note that in early literature by black men, black women were seen has hopeless and characterized as mere sex objects. "I asked her to hope, and build up an inner life against the coming of that day…I sang, with a strange quiver in my voice, a promise song."[14] The focus of this essay is on that of the Black women throughout history who have created masterpieces from the scraps they were afforded. Black women's potential for creative freedom is stifled by their position in society that places a series of tropes and caricatures onto their being, operating to delegitimize the work they produce. Walker says black women did not have the opportunity to pursue their dreams because they were given the main responsibility of raising children, obeying their husbands, and maintaining the household: "Or was she required to bake biscuits for a lazy backwater tramp, when she cried out in her soul to paint watercolors of sunsets, or the rain falling on the green and peaceful pasturelands? Or was her body broken and forced to bear children."[15] Walker personalizes these women by referring to them as "our mothers and grandmothers".[16]
Toomer felt that black women were unhappy and felt unloved. Both Walker and Toomer felt that black women were not allowed to dream, yet alone pursue them. "They were Creators, who lived lives of spiritual waste, because they were so rich in spirituality, which is the basis of art, that the strain of enduring their unused and unwanted talent drove them insane".[15] Walker proceeds in saying how oppression has caused many talented black women to go unnoticed or unheard of. Walker cites Bessie Smith, Billie Holiday, Nina Simone, Roberta Flack, and Aretha Franklin to note talent lost among the black race and culture.
Additionally, Walker refers to Virginia Woolf's, A Room of One's Own and writer Phillis Wheatley; Walker compares both artists conveying that all of Woolf's fears were Wheatley's reality; due to restraints all of Woolf's goals were unachievable for Wheatley. Woolf writes, "any woman born with a great gift in the sixteenth century would certainly have gone crazed, shot herself, or ended her days in some lonely cottage outside the village, half witch, half wizard, feared and mocked at. For it needs little skill and psychology to be sure that a highly gifted girl who had tried to use her gift for poetry would have been so thwarted and hindered by contrary instincts, that she must have lost her health and sanity to a certainty." Wheatley experienced everything Woolf dreaded, although Wheatley was granted limited freedom of expression and education by her owners. Walker focuses on the phrase, "contrary instincts"[17] used by Woolf, believing that this what Wheatley felt since she was taught that her origin was an untamed and inadequate culture and race. In Wheatley's poetry she describes a "goddess",[18] which Walker perceives as her owner, whom Wheatley appreciates although she was enslaved by this person. Walker pays tribute to Wheatley when she writes, "But at last Phillis, we understand. No more snickering when your stiff, struggling, ambivalent lines are forced on us. We know now that you were not an idiot or a traitor".[19]
According to Walker, society viewed Black women as, "the mule of the world",[19] this caused black women to become emotionless and hopeless. Further, in the essay Walker gives a personal account of her own mother, "And yet, it is to my mother-and all our mothers who were not famous-that I went in search of the secret if what has fed that muzzled and often mutilated, but vibrant, creative spirit that the black woman has inherited, and that pops out in wild and unlikely places to this day".[20] Walker describes her mother's simple, but appreciated talent of gardening. For Walker, her mother's ability to continue gardening despite her poor living conditions portrays her mother's strong persona and ability to strive even in hardship. "She spent the summers canning vegetables and fruits. She spent the winter evenings making quilts enough to cover all our beds. There was a never a moment for her to sit down, undisturbed, to unravel her own private thoughts; never a time free from interruption-by work or the noisy inquiries of children. The theme and idea of legacy reoccurs towards the end of the essay. Walker describes, the legacy of her mother, "Her face, as she prepares the Art that is her gift is a legacy of respect she leaves to me, for all that illuminates and cherishes life".[20] Walker reveals how she has found and understood herself, while researching her heritage.
"From An Interview" gives readers a deeper insight on Walker's personal struggle with self-worth. Walker extensively reveals her inner conflicts and the imperative events in her life that has made her the person she is. Walker refers to herself as a "solitary"[21] person from as early as her childhood. Walker was discloses that she was teased as a child due to her disfigurement, which made her feel worthless and later on as a college student she began to seriously contemplate suicide. Walker says, "That year I made myself acquainted with every philosopher's position on suicide, because by that time it did not seem frightening or even odd, but only inevitable".[22] Walker also began to lose her faith in a higher being because she felt as though her thoughts of suicide disappointed God, therefore weakening her relationship with him. Walker explains that with the help of friends and poetry she unraveled herself from this path of self-destruction. According to Walker her main release of energy is through poetry. Walker then explains her passion for poetry, "Since that time, it seems to me that all of my poems-and I write groups of poems rather than singles-are written when I have successfully pulled myself out of a completely numbing despair, and stand again in the sunlight. Writing poems is my way of celebrating with the world that I have not committed suicide the night before".[23] Walker expresses that with her experiences she has developed a passion to help Black women who lack the self-esteem as she once did.
"If the Present Looks Like the Past, What Does the Future Look Like?" addresses the divide within the black community. In the opening of the essay Walker bluntly begins with the division among lighter and darker skinned black women. Walker speaks about how lighter women unintentionally and unknowingly offend dark skinned women when she says, "What black women would be interested in, I think, is a consciously heightened awareness on the part of light black women that they are capable, often quite unconsciously, of inflicting pain upon them; and that unless the question of Colorism– in my definition, prejudicial or preferential treatment of same-race people based solely on their color– is addressed in our communities and definitely in our black "sisterhoods" we cannot, as a people, progress. For colorism, like colonialism, sexism, and racism, impedes us".[24] Walker encourages the two groups to be sensitive towards one another, or else progression of Black people will be haunted. Walker urges Black people to pave the way for future generations to eliminate the distress experienced by her and many others. Walker expresses this thought when she says, "…I believe in listening-to a person, the sea, the wind, the trees, but especially to young black women whose rocky road I am still traveling".[25]
Part IV
Part Four of In Search of Our Mothers' Gardens includes the following essays:
"Silver Writes"
"Only Justice Can Stop a Curse"
"Nuclear Madness: What Can You Do"
"To the Editors of Ms. Magazine"
"Writing The Color Purple"
"One Child of One's Own: A Meaningful Digression within the Work(s)"
Zora Neale Hurston was an American writer, anthropologist, folklorist, and documentary filmmaker. She portrayed racial struggles in the early-20th-century American South and published research on Hoodoo and Caribbean Vodou. The most popular of her four novels is Their Eyes Were Watching God, published in 1937. She also wrote more than 50 short stories, plays, an autobiography, ethnographies, and many essays.
Alice Malsenior Tallulah-Kate Walker is an American novelist, short story writer, poet, and social activist. In 1982, she became the first African-American woman to win the Pulitzer Prize for Fiction, which she was awarded for her novel The Color Purple. Over the span of her career, Walker has published seventeen novels and short story collections, twelve non-fiction works, and collections of essays and poetry.
Their Eyes Were Watching God is a 1937 novel by American writer Zora Neale Hurston. It is considered a classic of the Harlem Renaissance, and Hurston's best known work. The novel explores protagonist Janie Crawford's "ripening from a vibrant, but voiceless, teenage girl into a woman with her finger on the trigger of her own destiny".
A Room of One's Own is an extended essay by Virginia Woolf, first published in September 1929. The work is based on two lectures Woolf delivered in October 1928 at Newnham College and Girton College, women's colleges at the University of Cambridge.
Womanism is a feminist movement, primarily championed by Black feminists, originating in the work of African American author Alice Walker in her 1983 book In Search of Our Mothers' Gardens. Walker coined the term "womanist" in the short story "Coming Apart" in 1979. Her initial use of the term evolved to envelop a spectrum of issues and perspectives facing black women and others. Walker defined "womanism" as embracing the courage, audacity, and self-assured demeanor of Black women, alongside their love for other women, themselves, and all of humanity. Since its inception by Walker, womanism has expanded to encompass various domains, giving rise to concepts such as Africana womanism and womanist theology or spirituality.
African American literature is the body of literature produced in the United States by writers of African descent. Olaudah Equiano was an African man who wrote The Interesting Narrative of the Life of Olaudah Equiano, an autobiography published in 1789 that became one of the first influential works about the transatlantic slave trade and the experiences of enslaved Africans. His work was published sixteen years after Phillis Wheatley's work. She was an enslaved African woman who became the first African American to publish a book of poetry, which was published in 1773. Her collection, was titled Poems on Various Subjects, Religious and Moral.
Womanist theology is a methodological approach to theology which centers the experience and perspectives of Black women, particularly African-American women. The first generation of womanist theologians and ethicists began writing in the mid to late 1980s, and the field has since expanded significantly. The term has its roots in Alice Walker's writings on womanism. "Womanist theology" was first used in an article in 1987 by Delores S. Williams. Within Christian theological discourse, Womanist theology emerged as a corrective to early feminist theology written by white feminists that did not address the impact of race on women's lives, or take into account the realities faced by Black women within the United States. Similarly, womanist theologians highlighted the ways in which Black theology, written predominantly by male theologians, failed to consider the perspectives and insights of Black women. Scholars who espouse womanist theology are not monolithic nor do they adopt each aspect of Walker's definition. Rather, these scholars often find kinship in their anti-sexist, antiracist and anti-classist commitments to feminist and liberation theologies.
The New Negro: An Interpretation (1925) is an anthology of fiction, poetry, and essays on African and African-American art and literature edited by Alain Locke, who lived in Washington, DC, and taught at Howard University during the Harlem Renaissance. As a collection of the creative efforts coming out of the burgeoning New Negro Movement or Harlem Renaissance, the book is considered by literary scholars and critics to be the definitive text of the movement. Part 1 of The New Negro: An Interpretation, titled "The Negro Renaissance", includes Locke's title essay "The New Negro", as well as nonfiction essays, poetry, and fiction by writers including Countee Cullen, Langston Hughes, Zora Neale Hurston, Claude McKay, Jean Toomer, and Eric Walrond.
Michele Faith Wallace is a black feminist author, cultural critic, and daughter of artist Faith Ringgold. She is best known for her 1979 book Black Macho and the Myth of the Superwoman. Wallace's writings on literature, art, film, and popular culture have been widely published and have made her a leader of African-American intellectuals. She is a Professor of English at the City College of New York and the Graduate Center of the City University of New York (CUNY).
Black feminism is a branch of feminism that focuses on the African-American woman's experiences and recognizes the intersectionality of racism and sexism. Black feminism philosophy centers on the idea that "Black women are inherently valuable, that liberation is a necessity not as an adjunct to somebody else's but because of our need as human persons for autonomy."
Meridian is a 1976 novel by Alice Walker. It has been described as Walker's "meditation on the modern civil rights movement." Meridian is about Meridian Hill, a young black woman in the late 1960s who is attending college as she embraces the civil rights movement at a time when the movement becomes violent. The story follows her life into the 1970s through a relationship that ultimately fails, and her continued efforts to support the movement.
Cane is a 1923 novel by noted Harlem Renaissance author Jean Toomer. The novel is structured as a series of vignettes revolving around the origins and experiences of African Americans in the United States. The vignettes alternate in structure between narrative prose, poetry, and play-like passages of dialogue. As a result, the novel has been classified as a composite novel or as a short story cycle. Though some characters and situations recur in different vignettes, the vignettes are mostly freestanding, tied to the other vignettes thematically and contextually more than through specific plot details.
Africana womanism is a term coined in the late 1980s by Clenora Hudson-Weems, intended as an ideology applicable to all women of African descent. It is grounded in African culture and Afrocentrism and focuses on the experiences, struggles, needs, and desires of Africana women of the African diaspora. It distinguishes itself from feminism, or Alice Walker's womanism. Africana womanism pays more attention to and focuses more on the realities and the injustices in society in regard to race.
The themes encompassed in African-American writer Maya Angelou's seven autobiographies include racism, identity, family, and travel. Angelou (1928–2014) is best known for her first autobiography, I Know Why the Caged Bird Sings (1969). The rest of the books in her series are Gather Together in My Name (1974), Singin' and Swingin' and Gettin' Merry Like Christmas (1976), The Heart of a Woman (1981), All God's Children Need Traveling Shoes (1986), A Song Flung Up to Heaven (2002), and Mom & Me & Mom (2013).
Delores Seneva Williams was an American Presbyterian theologian and professor notable for her formative role in the development of womanist theology and best known for her book Sisters in the Wilderness: The Challenge of Womanist God-Talk. Her writings use black women's experiences as epistemological sources, and she is known for her womanist critique of atonement theories. As opposed to feminist theology, predominantly practiced by white women, and black theology, predominantly practiced by black men, Williams argued that black women's experiences generate critical theological insights and questions.
Mules and Men is a 1935 autoethnographical collection of African-American folklore collected and written by anthropologist Zora Neale Hurston. The book explores stories she collected in two trips: one in Eatonville and Polk County, Florida, and one in New Orleans. Hurston's decision to focus her research on Florida came from a desire to record the cross-section of black traditions in the state. In her introduction to Mules and Men, she wrote: "Florida is a place that draws people—white people from all over the world, and Negroes from every Southern state surely and some from the North and West." Hurston documented 70 folktales during the Florida trip, while the New Orleans trip yielded a number of stories about Marie Laveau, voodoo and Hoodoo traditions. Many of the folktales are told in vernacular; recording the dialect and diction of the Black communities Hurston studied.
Trudier Harris is an American literary scholar, author, writing consultor, and educator. She is a Professor Emerita at the University of Alabama and held the position of J. Carlyle Sitterson Distinguished Professor at University of North Carolina at Chapel Hill. Harris is a member of the Wintergreen Women Writers Collective.
"How It Feels to Be Colored Me" (1928) is an essay by Zora Neale Hurston published in The World Tomorrow, described as a "white journal sympathetic to Harlem Renaissance writers".
African American women of the Civil Rights movement (1954-1968) played a significant role to its impact and success. Women involved participated in sit-ins and other political movements such as the Montgomery Bus Boycott (1955). Organizations and other political demonstrations sparked change for the likes of equity and equality, women's suffrage, anti-lynching laws, Jim Crow Laws and more.
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