By Harold Bloom
The prestige of Alice Walker as a interval author or everlasting determine in American literature continues to be a resource of discussion between critics. This quantity examines Walker's Meridian and the colour crimson, and encompasses a record of works by way of and concerning the writer. This sequence is edited through Harold Bloom, Sterling Professor of the arts, Yale collage; Henry W. and Albert A. Berg Professor of English, long island college Graduate institution; preeminent literary critic of our time. Titles comprise specified plot summaries of the unconventional, extracts from scholarly severe essays at the novels, a whole bibliography of the writer's novels, and extra.
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Additional info for Alice Walker, New Edition (Bloom's Modern Critical Views)
They would admire the rich 40 Alice Hall Petry candle glow on their wet, delectably earth-toned skins. Sniﬀ the incense—the odor of sandal and redwood. He would carry her in to bed. Music. Emotion. Sensation. Presence. Satisfaction like rivers ﬂowing and silver. (“Porn,” YCK, 78) Except for the use of controlled substances and the licking and sucking, this is pure Barbara Cartland. Likewise, the narrator’s passion for Laurel (in the story of the same name) makes one blush—over the writing: “I thought of his musical speech and his scent of apples and May wine with varying degrees of regret and tenderness”; their “week of passion” had been “magical, memorable, but far too brief ” (“Laurel,” YCK, 111).
Meridian is no longer cast out, alone; she has healed and re-created herself. She has left the dark night of the soul, the purgative journey. Because the novel is an assembly of incidents, fashioned in a circle, the poem must be placed at the beginning of the story, no matter where it is placed in the book. The congregation of witnesses see Meridian after her journey through the wilderness and their/ our souls “look back in wonder” at how she made it over. Her example is the teaching message she aspired to: go ye and do likewise.
Tight, tiny pussies, and moments of rape. (60, Walker’s ellipses) As Andrea Clement White degenerates from Famous Author to a character type from farce—the salty-tongued granny, the sweet old lady with the dirty mind—everything Walker was trying to say about identity, success, black pride has dissipated. We keep waiting for Walker to wink, to say that “Fame” is a satire; but it isn’t. The reader’s uncertainty about how to respond to You Can’t Keep a Good Woman Down is not dispelled by the writing style of many of the stories.