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film reviews

‘The Color Purple’ Illuminates the Power of Daydreaming Amid Trauma

⚠️ Spoilers ahead! Watch the film.

⚠️ Trigger warning! The story and the post below have graphic references to topics such as sexual assault, molestation, and violence.

The musical film version of The Color Purple opened on Christmas Day 2023, earning $18 million during its record-breaking holiday debut and updating the 1985 film with the elevation of expressing the message of love, faith, and empowerment through vivid daydreams.

“I think it pisses God off when you walk by the color purple in a field and don’t notice it” is one of the film’s most memorable lines revealing the title. It is said by homegrown blues singer Shug Avery, played originally by Margaret Avery and recently by Taraji P. Henson. Purple is the color of royalty, nobility, luxury, power, and ambition. Color psychology tells us the combination of rage red and tranquil blue opens up purple to the interpretation of various emotions. The color purple alone has literary interpretations, especially with purple prose, the literary phrase defined as long-winded, flowery language. Purple prose could be seen as literary fiction, the genre The Color Purple fits into. The novel by Alice Walker earned the renowned author the title of being the first Black woman to win a Pulitzer Prize in fiction. 

A story full of trauma and triumph, the daydreams in the second film adaptation focus on the power of imagination to lift the main character toward the love she felt was missing throughout her life. 

The song-and-dance routines add the element of hope in early 20th-century Georgia telling the story of Celie, a Black woman whose Pa handed her off to be the wife to a cruel man known as Mister. She is still recovering from the deliberate abduction of her two babies by Pa, who had raped her. And she will miss her sister, Nettie, who’s her confidante and the one who is told she can make a way for herself in the world through her education. Celie is forced to raise Mister’s three children, cook, and clean all day. She goes through this pattern for years until she meets the famous Shug Avery, who forces her to live her life despite her past and present abuses.

The first daydream sequence from Celie’s imagination occurs after a baby girl drops her pacifier on the floor in the family general store. This is before she is sent off to be married to Mister. In the film, this is young Celie, played by newcomer Phylicia Pearl Mpasi. As Celie sweeps the floor, she picks up the pacifier in awe of the baby girl. She believes it is Olivia, the daughter Pa fathered and abducted. Since Pa tells Celie that he gave the babies to God, Celie fears her babies could be dead. Olivia is riding in the stroller handled by a woman Celie doesn’t know. To keep the moment to herself, Celie runs outside the store with the broom and imagines herself in a dark dream sequence. She is singing “She Be Mine” with the ensemble of men singing and dancing beside her in prisoners’ jumpsuits in a field, where they have rakes, similar to her broom. The setting is charcoal gray; no celebration for color. Then, the dance routine morphs into washerwomen under a waterfall as Celie raises her arms skyward. Her dream sequence is interrupted by Pa, played by Deon Cole, with the threat of punishment. Before she hurries back into the store, we see Celie hold the delicate pacifier close to her chest. 

The next daydream sequence is with Celie and her sister, Nettie, played by Halle Bailey, who also starred in the book-to-film blockbuster The Little Mermaid earlier in 2023. Celie has already been married off to Mister. Nettie asks to stay with Celie in Mister’s house to escape Pa’s sexual violence. While looking for wood, the two sisters are walking under the trees on a dusty road, but the sunlight shines on Nettie as she begins to belt out “Keep It Movin’.” Nettie has the opportunity to be optimistic since she’s the sister who can earn an education and understands her future is brighter with her education. She mentions Africa as the birthplace of their ancestors and wants to journey there someday. In fear of Mister’s wrath, Celie becomes anxious, wanting to hurry to get the wood before the sun sets. Celie doesn’t understand that her world could open so wide since she doesn’t attend school and has already birthed two children who had been taken away. The joyful day disappears when Nettie has to escape Mister’s sexual violence and is thrown out of the home in the middle of the night. When Mister brings out his shotgun, Nettie flees into the darkness. Celie is alone again. 

Years later as an adult, Celie is played by American Idol winner Fantasia Barrino. She is in a constant rotation of cooking and cleaning Mister’s home without much attention from him. If he gives her attention, it is usually a violent interaction. So, Celie seems to have a short-circuited imagination. The photo of Shug Avery comes alive for Celie as she notices this glamorous woman. We’re taken back for a few seconds to the moment of Shug’s photo shoot. Shug Avery is also the love of Mister’s life. Celie could only wonder what the woman is like, but her imagining how the photo is produced is a daydream sequence that fails to feature Celie herself. 

When Shug finally comes to visit Mister, Celie has the chance to experience the glamour up close. Shug takes a relaxing bath with her record playing in the background. Shug needs somebody to flip the record, so Celie enters the bathroom quietly and flips the record since it’s her job to do everything around the house. But she’s in awe of how Shug can lay out her naked body covered in soapy bubbles and enjoy her leisure time. Shug asks Celie to scrub her back. While scrubbing Shug’s back, Celie is transported into another world, but this time it is still charcoal gray to match the gigantic gramophone playing Shug’s record. Celie is singing “Dear God – Shug” about the wondrous feeling she is experiencing in the presence of the great Shug Avery. Then she slides off the bathtub, surprising Shug. The moment is awkwardly over. But her imagination is revving up again. 

During the visit, Celie becomes Shug’s companion as Mister, played by Colman Domingo, continues to tend to the farm and go out drinking. Shug notices Celie never smiles. Celie admits she doesn’t have much to smile about. While applying her iconic red lipstick, Shug tries to guide Celie to joy by having her wear lipstick. Celie’s face brightens up. Feeling pretty boosts her confidence. She tells Shug that Mister has beaten her less during the visit. Shug tells Celie to fight back. Shug even reveals that Celie’s husband’s name is Albert. Mister is a title; Celie didn’t know her husband’s name. 

The newfound hope for a new life forces Celie to daydream more in the beaded dresses and headpieces that Shug wears. Shug performs at Mister’s son Harpo’s converted speakeasy. She arrives on a boat to the speakeasy in her red dress and feathers. The diva’s entrance and performance force Celie to enjoy herself; it has to be the first time she has ever enjoyed a night out. Shug and Celie leave together and later watch a movie at the cinema. They sit high in the auditorium, most likely in the colored section. It looks like nobody else is in the theater. They share a passionate kiss. The passion grows into a daydream sequence of Shug in her gown stepping down on one side of the stage to Celie in her gown sashaying on the other side singing “What About Love?” with a pianist and band playing on stage. They unite in the center. 

As Shug and Celie grow closer and away from an inebriated Albert, Celie believes she’s going with Shug to Memphis. At first, Celie is left behind to combat Albert. Her life of wonder is shut down, and she’s trying to fight back against Albert’s cruelty, thanks to Shug’s advice. But the magic of Shug is gone, and that made the whole world of difference coexisting with Albert in the same house. Shug eventually returns with a new suave husband. A raucous Thanksgiving dinner ensues with Celie cursing out Albert, visibly upset with Shug arriving in town with a husband and saying she will take Celie to Memphis with her this time. Celie jumps up and places a knife under Mister’s chin. Everyone stops Celie from cutting Albert. Harpo’s estranged wife Sofia, played by Danielle Brooks who also starred in the book-to-TV Netflix series Orange Is the New Black, comes alive again with her fighting spirit after spending six years in jail for defending herself against a White mob. Shug and her husband jump in the car to take Celie and Harpo’s girlfriend Mary Agnes “Squeak,” played by H.E.R., to Memphis, but not before Celie points her two fingers like thunderbolts at Mister and says the famous curse: “Until you do right by me, everything you think about is going to crumble.”

On Albert’s farm, the land has been riddled with locusts. The cursed land can’t grow anything, then it catches on fire. Albert barely has anything left, so he decides to make things right with Celie. He sells some of his land to help bring Nettie and the family of missionaries she has worked with for years home to the United States after their passports were destroyed in Africa. He learns of the opportunity to be of assistance through one of Nettie’s letters that he would hide from Celie, who has now already moved out after finding dozens of old letters unearthed by Shug. He surprises Celie at the store and purchases an iridescent pair of pants. Celie packs the pair up, questioning the choice. She feels at ease once he leaves the store. Then she sings, “I’m Here,” the pivotal song of the musical with the message of gratitude for being alive and able to move forward. 

Once in Memphis living in Shug’s mansion, Celie discovers Pa has died. The general store is now hers, though Pa’s widow has to tell Celie that Pa was her stepfather and the store never belonged to Pa, but to Celie’s biological father who had left the business in Celie’s and Nettie’s names. They never knew, but Celie is about to take her sewing to a whole new level. She reopens the general store as a fancy pants store. The daydream sequence stars Celie and her friends, including Shug, Sofia, and Mary Agnes, singing “Miss Celie’s Pants.” Celie was an abused housewife for years, but now she is an entrepreneur using her sewing skills and love of color through fabrics. She chooses pants as a piece of clothing that means empowerment since even then men almost entirely wear pants, but she and her chosen family of women are decked out in fancy pants. 

The film ends with Celie finally being reunited with grownup Nettie, played by Ciara, who had been raising Celie’s children, Olivia and Adam, with their missionary parents in Africa. Celie created her chosen family, even with Mister in his iridescent pants, when her biological family was taken away from her, but they are now all under the willow tree enjoying Easter brunch with her. They hold hands and sing “The Color Purple.”

The musical is being praised for its positivity, but it’s getting criticism for downplaying the trauma. The weight of trauma is showcased in the original film. The balance between the two films is refreshing and gives the audience another way to digest this classic tale. Finding the good in our situations is more of a theme in the present than it was in the 1980s when the book and the original film debuted. The story takes place between the 1910s and 1930s when self-care and self-love were rarely topics being discussed. The self-love message from Shug evolves into sexual love in the story that is not really shown in the 1985 drama because even then queerness was a touchy element to show on camera, especially between two Black women existing in another time in history.

The Color Purple was published in 1982, and two years later with the news of the film from Steven Spielberg, the novel began to see bans in school libraries and literary curricula. The week the new musical version of The Color Purple opened nationwide in theaters, the Orange County Public Schools in Florida banned the novel to comply with House Bill 1069. The bill was passed by the Republican-controlled state legislature and signed into law by Gov. Ron DeSantis as an expansion of the “Don’t Say Gay” law, according to Orlando Sentinel. The novel ranked #50 in the 100 most banned books between 2010 and 2019, per the American Library Association’s Office for Intellectual Freedom, which has been documenting attempts to ban books in libraries and schools since 1990. 

Ghanaian filmmaker Blitz Bazawule directed the new film. He’s also the author of the 2022 novel, The Scent of Burnt Flowers. Whoopi Goldberg, who played Celie in the 1985 film, made a cameo as the midwife who delivers Adam in the beginning of the film, while Oprah Winfrey, who played Sofia, serves as executive producer with Spielberg and Quincy Jones. Both women had earned Academy Award nominations in 1986 for their performances. “A bold new take on the beloved classic” is the slogan for the 2023 film. It was a bold move to update the film and show the banned book in a new light. Perhaps, students who had access to the book taken away from them by their school administrators may read the book on their own after watching the new screen adaptation. After all, the story’s root is about love and how you have to pave your path to feel love.

Categories
experiences

Book Festivals Highlight Diverse Works Amid Banned Books Movement

Two book festivals in Maryland have kick-started the summer off in a year when literary diversity is under attack in the form of book bans.

Books in Bloom and Gaithersburg Book Festival held family-friendly community events that featured a number of authors who either identify on the diversity spectrum or are passionate about freedom of speech in literature. Over the last year, more parents nationwide are asking school libraries to take books off shelves they deem inappropriate for their children to read while some libraries are reactively subtracting books to avoid controversy.

This movement of banning books is sparking opposition as authors and readers alike are going out of their way to support not only freedom of speech but support the variety of books meant to be read by children. The political divide was felt at these book festivals and may become a theme for other similar events in the U.S. throughout the year.

Banned books gain spotlight

Books in Bloom calls itself a progressive book festival in the master-planned city of Columbia, Maryland. To show support for banned books, the festival dedicated one of its soundstages to authors who discussed freedom of speech.

A vibrant setting in Merriweather District’s Color Burst Park, the book festival had a giant book-shaped display describing some of the top banned books in history from Toni Morrison‘s Beloved and Song of Solomon to Alice Walker‘s The Color Purple. With Busboys and Poets as the independent bookstore for the event and a location in the park, most books for sale were books by authors who are Black and/or LGBTQIA+.

Queer memoirs All Boys Aren’t Blue by George M. Johnson and Gender Queer by Maia Kobabe had notable stacks on the tables with other titles that have become the face of many bans though they were created for the middle grade and young adult audiences. The bans are usually due to racial and cultural content, sexually explicit content, and offensive language.

Headliners included a panel with PEN America, the nonprofit organization advocating in the intersection of literature and human rights to protect free expression, and Democratic U.S. Rep. Jamie Raskin of Maryland’s 8th congressional district and author of Unthinkable: Trauma, Truth, and the Trials of American Democracy. Raskin also attended Gaithersburg Book Festival to sell and sign his latest book.

The book festival’s keynote speaker was Carl Bernstein, the well-known The Washington Post reporter who co-headed the news coverage on the Watergate scandal in 1972. On the festival’s main stage, he marveled at his time growing up around Columbia and how he first became a cub reporter as a high school dropout in his new memoir, Chasing History: A Kid In The Newsroom.

The last Books in Bloom was held less than a year ago in-person in October with The New York Times reporter and The 1619 Project creator Nikole Hannah-Jones serving as the keynote speaker.

Diverse works lead way

Reminiscent of a large outdoor book festival such as Los Angeles Times Festival of Books, Gaithersburg Book Festival in Gaithersburg, Maryland marked its 12th year as an event supporting the greater community with inviting traditionally published authors and offering seminars on book publishing and creative writing for children and adults.

Authors such Dhonielle Clayton, who has a new middle grade release with The Marvellers, and Kimberly Jones, who is promoting her social justice young adult novel Why We Fly with co-author Gilly Segal, discussed their works at the annual event. Dhonielle, a Gaithersburg native, and Kimberly are some of the top YA Black authors who have been outspoken about diversity in literature and social justice matters.

Asked about some of her summer read recommendations, Dhonielle mentioned Valentina Salazar Is Not a Monster Hunter by Zoraida Córdova; the Track series by Jason Reynolds; and The Devouring Wolf by Natalie C. Parker, in which Dhonielle says there’s a wolf character named after her.

Another author at the event was Jeanine Cummins, who gained notoriety with her immigration novel American Dirt, interviewing Reyna Grande about her book A Ballad of Love and Glory. American Dirt follows a Mexican woman trying to escape to the U.S. with her young son after her family is murdered.

Some high-profile Hispanic and Latine authors spoke out about the White Latina author’s seven-figure advance because they said the publishing industry would never offer them such a sum for centering stories on Hispanic and Latine characters. They also claimed the book had inaccuracies in the culture and language that wasn’t native to the author. On the other hand, there were Hispanic and Latine authors and celebrities who supported the Oprah’s Book Club selection.

Since American Dirt came out in 2020, Jeanine, like many authors who had released their works at the beginning of the COVID-19 pandemic, now have the chance to work the promotion circuit in-person.

Social justice and historical nonfiction were the focus of many authors’ works at the book festival. Gayle Jessup White talked about her lineage connected to former slave-holding president Thomas Jefferson in her book Reclamation: Sally Hemings, Thomas Jefferson, and a Descendant’s Search for Her Lasting Legacy. Kristin Henning shared her experience representing Black youth in the D.C. court system and how she conceived the idea for her book The Rage of Innocence: How America Criminalizes Black Youth.

Along with Raskin, Democratic U.S. Rep. Adam Schiff for California’s 28th congressional district visited the event to chat about his book Midnight in Washington: How We Almost Lost Our Democracy and Still Could.

D.C. area indie bookstore chain Politics and Prose served as the event bookseller.

The pre-summer book festivals helped usher in the first literary events for authors and readers to enjoy as society emerges out of the pandemic and the world of book publishing remains volatile in the wake of book bans.

Categories
what's lit

Well-Read Black Girl Festival Recognizes Works Centering on Black Girlhood

Well-Read Black Girl marked five years with its annual book festival on Saturday centering on the theme of Black girlhood.

On Girlhood is the name of founder Glory Edim‘s second anthology released this week from the W. W. Norton & Company imprint Liveright featuring works from the literary organization’s library by Toni Morrison, Alice Walker, and Rita Dove.

The daylong event started with a prerecorded surprise message from former First Lady Michelle Obama, who opened up about the support she received from the Black female audience for her record-shattering memoir Becoming.

Keynote speaker Gabrielle Union discussed in-depth the themes underlying her latest autobiographical story collection You Got Anything Stronger?: Stories with Glory in a prerecorded conversation.

The collection is a follow-up to Gabrielle’s 2017 best-seller We’re Going to Need More Wine: Stories That Are Funny, Complicated, and True. She said she learned from the “overwhelming” response from readers that there is a “desperate need for community and to be seen and understood and to be embraced by one another.”

“I left out a lot in the first book,” she said. “And as brave as folks thought I was and as revealing as folks thought I was, I knew that there was a lot I hadn’t healed enough from to include in that first book.”

Brene Brown’s podcast and TED talks on shame and vulnerability along with therapy helped her cope with the stories she wanted to share in her new book, she said.

“It logically just clicked; it made perfect sense. Then to see a shaman who said very similar things, and he was like, ‘Yo, Gab, what if what if your vulnerability is actually your superpower?” she said, adding, “You associate vulnerability with being weak and you feel that it is counterintuitive to just expose your full self to challenges, struggles, joys, all of it, random feelings. You feel like that’s giving the opposition the ammunition to take you out but really it’s sharpening your sword to tackle the world.”

Feeling more comfortable with the situations that made her who she is, Gabrielle said she has adopted a “zero fucks given” philosophy with age when it comes to sharing her stories and battling the haters. She turned 49 on Friday.

“When the chatter gets little louder and the folks around me are like, ‘Did you hear what so-and-so said?’ No one with a hot take on my family or me has ever been anyone I’ve admired or whose life I wanted to emulate,” she said.

She discusses in length the backstories behind some of her new book’s chapters. The she lit book review can be found here.

On Girlhood

For the On Girlhood panel, WRBG scholar-in-residence Bianca Williams moderated the conversation with Glory and Farah Jasmine Griffin, author of Read Until You Understand: The Profound Wisdom of Black Life and Literature published by W. W. Norton.

“Nikki Rosa” a poem by Nikki Giovanni in the The Black Woman: An Anthology and Sula by Toni Morrison were the titles Farah said became inspiring Black girlhood works. Toni and Zora Neale Hurston defined the Black girlhood subgenre, she added.

“They both handled girlhood so well. They both gave us unforgettable Black girls,” she said. “Toni gave us Pecola and she also gives us Claudia and Frieda [The Bluest Eye] and Denver [Beloved], all of these Black girls. Janie [Their Eyes Were Watching God] is a girl, so we see ourselves as girls for the first time, fully dimensional in the work of Black women writers.”

Zeba Blay was the featured author for the On Carefree Black Girls panel. Her book Carefree Black Girls: A Celebration of Black Women in Popular Culture came out Oct. 19 from Macmillan imprint St. Martin’s Griffin. In conversation with Marjon Carlos, Zeba said she had to revisit her younger self who depended on the internet to collage images of Black women and inform her cultural understanding that led to her pop culture writing career.

“In writing this book, I was thinking a lot about my childhood, that younger Z who created the life I am living now and didn’t even know it,” she said. “I went through my old LiveJournal because that Live Journal was my life and I was astonished to see I was posting very similar mood boards in a different format.”

#BlackGirlMagic creator CaShawn Thompson discussed her children’s book Good Night Stories for Rebel Girls: 100 Real-Life Tales of Black Girl Magic edited by Lilly Workneh in partnership with edutainment publisher Rebel Girls. The book features stories for girls ages six and up on groundbreaking Black women like singer Aretha Franklin, tennis player Naomi Osaka, and presidential candidate Shirley Chisholm.

“Girlhood is a universal experience, but even in that, it happens in so many ways, so I had a real keen understanding after doing the work of putting this book together is that girlhood, much like womanhood, looks like a lot of different things, but it all leads us to who we eventually will become,” CaShawn said. “I felt like having a book that exposes the girls to the many ways that we show up would give them a wider and deeper breadth of what they can possibly become when they grow up.”

Festival sponsors include Rebel Girls, 4 Color Books, The New York Times, and HarperCollins Publishers along with partner indie bookstores Reparations Club in Los Angeles, Mahogany Books and Loyalty Bookstores in D.C., Café Con Libros in Brooklyn, and Semicolon Bookstore & Gallery in Chicago. Brooklyn-based Center for Fiction provided the space for the festival events.

WRBG announced this week it has partnered with podcast and audiobook producer Pushkin Industries for a podcast to debut in February 2022.

Categories
book reviews

Book Review: ‘Well-Read Black Girl’ by Glory Edim

Well-Read Black Girl: Finding Our Stories, Discovering Ourselves by Glory Edim

My rating: 3 of 5 stars


Well-Read Black Girl is an anthology by Black female writers who discuss how they became writers, but while some stories strike a chord, others lack depth.

Between the stories, the anthology has lists of written works by Black women to check out. It’s a valuable resource for a to-be-read list. The writers themselves usually mention a work that changed their life and directed them to writing. Jesmyn Ward discusses the unexpected Black girl magic within Jennifer, Hecate, Macbeth, William McKinley, and Me, Elizabeth by E.L. Konigsburg. Dhonielle Clayton credits Coffee Will Make You Black by April Sinclair with making her realize her sexuality. Zinzi Clemmons discovers how close she grew up next to the Brooklyn brownstones highlighted in Paule Marshall’s Brown Girl, Brownstones. Mahogany L. Browne compares the girls in Toni Morrison’s The Bluest Eye to the ones she grew up with in Northern California and how they all felt invisible as Black girls.

While some essays mostly focus on one experience and one book, others broaden their journey. Rebecca Walker talks about being Alice Walker’s daughter and how hanging out with Black female writing dynamos informed her future career. Gabourey Sidibe writes about her mother’s disappointment in having a daughter and how that motivated her to live her best life. Renee Watson tells the story of how she became a Rose Festival Princess in Portland despite being a big Black girl expected to lose and how Lucille Clifton’s poetry later moved her to accept her body.

The anthology gives insight to what inspires some of the top Black female writers, but it comes off as a collection meant for a younger audience. The theme of how you became a writer or what it means to be a Black writer also simplifies the essays with several mentioning well-known books as inspiration with similar reasoning. Marita Golden writes about Zora Neale Hurston’s impact on her career, particularly with Their Eyes Were Watching God. Zora is an expected source of inspiration due to her popularity, and the essays that highlight other lesser-known Black writers resonate better and make you feel as the reader you’re learning about or being reminded of a writer’s legacy.

Overall, the anthology is entertaining, but some stories are better than others and what inspires authors can sometimes be interesting and sometimes not, depending on how they write their inspiration story.




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