If we apply the rule of originative agony to Walker’s paraphrasis. may the unhappiness caused by the loss of the immature adult females really rise possible? In what sense does art be because of bondage and patriarchate. non merely in malice of them as Walker would hold us believe? Clearly. the positive results of enduring do non do the imposition of enduring acceptable. The comforter that hangs in the Smithsonian is non a justification for the subjugation that led to its creative activity. “In notional. inspired. and yet simple and identifiable figures. it portrays the narrative of the Crucifixion. It is considered rare. beyond monetary value. Though it follows no known form of quilt devising. and though it is made of spots and pieces of worthless shreds. it is evidently the work of a individual of powerful imaginativeness and deep religious feeling” . ( Walker 2434 )
The unhappiness caused by the loss of the immature adult females may really rise possible. It is non merely that adversity may show artistic look but that adversity may besides displace a woman’s spiritualty onto low chases. Slavery and patriarchate. though fatal to some. did non extinguish women’s artistic ability but it did re-channel it into quilting. anthem vocalizing and horticulture. There is no challenging that under better fortunes. adult females could hold created art on a far grander graduated table. but their low accomplishments are art however.
Black American adult females are now in place to associate to each other as adult females and as creative persons. with the image of. “Virginia Woolf. in her book A Room of One’s Own. wrote that in order for a adult female to compose fiction she must hold two things. surely: a room of her ain ( with lock and key ) and adequate money to back up herself. ” ( Walker 2432 ) There is a portraiture that female infinite either confines adult females and knees their creativeness or enables them to show their artistic urges. Walker’s mother’s flower garden is this type of infinite as good. and is similar to the image of the closed Gatess in Walkers Paraphrase of Okot p’Bitek’s verse form.
“O. my clansmans
Let us all cry together!
Let us mourn the decease of our female parent.
The decease of a Queen
The ash that was produced
By a great fire!
O. this homestead is utterly dead
Near the Gatess
With lacari irritants.
For our female parent
The Godhead of the Stool is lost!
And all the immature adult females
Have perished in the wilderness! ” ( Walker 2431 )
However. ‘ash’ is to be read. the result of the ‘great fire’ is non every bit negative as an initial reading suggests. The immature adult females may hold perished in the wilderness. but the clansmans in line one have survived to unite their voices and presumptively to bring forth replacings for the immature adult females who were lost.
The paraphrasis of Okot p’Bitek’s verse form must eventually be read along side Walker’s statement about an African female parent “over two hundred old ages ago” who sang and wove mats and told “ingenious narratives. ” “Perhaps. ” writes Walker. “she was herself a poet–through merely her daughter’s name is signed to the verse forms that we know” ( 2436 ) . Again. this relationship calls to mind Walker and her ain female parent. whose narratives provide a footing for some of Walker’s fiction. “Yet so many of the narratives that I write. that we all write. are my mother’s narratives. Merely late did I to the full realize this: That through old ages of listening to my mother’s narratives of her life. I have absorbed non merely the narratives themselves. but something of the mode in which she spoke. something of the urgency that involves the cognition that her stories–like her life–must be recorded. ” ( 2435 )
Walker regards the instruction of adult females as the indispensable component. Rather than simply repenting that black American adult females have non been able to “paint water-colors of sundowns. or the rain falling on the green and peaceable pasturelands” ( 2431 ) Walker emphasizes their accomplishments despite poorness. the load of kids and battle.