Independent Women—“the Others”

6. Independent Women—“the Others”

The early 20 th century image of ideal woman as perceived by the black community was to fit the image of true woman with its femininity and passivity. Thus, black men wanted their woman to be less independent. With the circulating image of ideal woman, black community resented independent working black women and considered them as ―unladylike‖, because they were able to live on their own and did not have to depend on men. This was as stated by Bell Hooks, ―the independent role black women were obliged to play both in the labor force and in the family was automatically perceived as unladylike ‖ (1981, p. 78). Independent woman was seen as the threat to the effort done by the Black Madonna activists. They threatened the The early 20 th century image of ideal woman as perceived by the black community was to fit the image of true woman with its femininity and passivity. Thus, black men wanted their woman to be less independent. With the circulating image of ideal woman, black community resented independent working black women and considered them as ―unladylike‖, because they were able to live on their own and did not have to depend on men. This was as stated by Bell Hooks, ―the independent role black women were obliged to play both in the labor force and in the family was automatically perceived as unladylike ‖ (1981, p. 78). Independent woman was seen as the threat to the effort done by the Black Madonna activists. They threatened the

―sign‖ of becoming ideal woman. As a result, an independent woman was not woman; or in some community they were labeled as ―the other‖.

Independent woman had the bad image in both black and white community, as they supported patriarchy. Both groups thought that woman should be at home as homemakers and depend on men. As stated by Robert Smuts in Bell Hooks ‘ Ain’t I a Woman , white society saw that:

…. In physique, temperament and mentality, the argument ran, women are exquisitely specialized for their functions as mothers and guardians of the home. To employ a woman in other ways would endanger not only her essential female qualities but also her sanity, her health, and even her life.

… (1981, p.78)

and this practice was imitated by some black men by applying woman in pedestal to their women. As quoted by Bell Hooks, a black woman feminist, Mary Church Teller ‘s husband ―treated her (Teller) as if she were a fragile glass object in need of constant protection ‖ (1981, p.90). In addition, black community believed that independent working black woman offended black men because it also threatened their masculine power at home. By being the provider at home, working black woman threatened men ‘s position at home as sole boss (Lewis, 1977: p.345). Thus, in black patriarchal family, this should be avoided at all cost.

Celie and Nettie ‘s teacher, Addie Beasley. Celie‘s father said that ―… whoever listen to anything Addie Beasley have to say. She run off at the mouth so much no man would have her. That how come she have to teach school …‖ (Walker, 1982, p. 18). However, her image does not receive positive reaction from the community, and from black men. Celie ‘s father‘s remark shows how black man resents independent working black woman by saying that she has to work because no man wants to marry her. Because she is not an ideal woman people want, she has to become a teacher as her last option.

Black woman independency is shown too through Shug Avery and Sofia who are seen to be unfit to either man or woman images. When there are two exact genders in the black community, woman and man, as stated by Mr. ____, Celie is the typical black woman and she will be automatically classified as a woman. While in Shug and Sofia ‘s case, Mr. ____ says that they acts manly but Celie considered their action as womanly. When they try to classify them, Shug and Sofia fall in neither groups, as stated in;

…. Shug act more manly than most men. I mean she upright, honest. Speak her mind and the devil take the hindmost, he say. You know Shug will fight,

he say. Just like Sofia. She bound to live her life and be herself no matter what. Mr. ____ think all this is stuff men do. But Harpo not like this, I tell him. You not like this. What Shug got is womanly it seem like to me. Specially since she and Sofia the ones got it.

Sofia and Shug not like men, he say, but they not like women either. You mean they not like you or me. They hold they own, he say. And it ‘s different. (Walker, 1982, p. 267)

This is the reason why people classified them as ―the other‖, because they are not considered as womanly or manly from their behavior and thought. If they are placed among the black people, they will not fit them. It is described too in the earlier pages that ―everybody sort of cut they eyes at Sofia. She the one they can‘t quite find a place for. She the stranger ‖ (Walker, 1982, p. 203). This shows that even among her peers, Sofia —and probably Shug—is seen as unfit with other normal black people.

In accordance with the qualifications the black community had for ideal woman, if compared to Shug who is a complete opposition of the respectable black women, Sofia still fits with the image of respectable woman. She has all the capabilities of a good wife and she is a good homemakers. As described by Celie, Sofia is ―… a good wife. Good to the children and good looking. Hardworking. Godfearing and clean. I don‘t know what more you want‖ (Walker, 1982, p. 69). However, she is considered as not good and unfitting to the image of ideal woman for she is not passive and submissive towards black men. Unlike Celie, she is disobedient and independent; as the effect of her life lessons that woman should not be men ‘s property. Harpo notices Sofia ‘s disobedience in ―… I tell her one thing, she do another. Never do what I say. Always backtalk ‖ (Walker, 1982, p.42), Sofia always wants to do everything she wants. Celie also admits Sofia ‘s assertiveness: ―but she don‘t act like me at all. If she talking when Harpo and Mr. ___ come in the room, she keep right on. If they ast where something at, she say she don‘t know. Keep talking‖ (TCP, p.43).

herself is very much aware of how black wives are much exploited by men. Sofia equates them as ―dog‖; as stated in ―all he think about since us married is how to make me mind. He don‘t want a wife, he want a dog‖ (Walker, 1982, p.71). She believes that a wife who does anything her husband tells her to do is as good as dog. This kind of wife is not a helpmate for her husband, instead she will be just his property, remains on her devalued image.

Sofia ‘s ability to do both woman and man‘s job around the house and her strong-build body place her in the category of manly woman. She prefers on doing man ‘s job rather than doing woman‘s job, she is the opposite of Harpo who loves doing little things in the house. She is more comfortable of doing what the black community regards as man ‘s work since it requires strength. Moreover, she does all kinds of man ‘s works at all time, for example fixing the roof or the furniture. While Harpo is the one who does the housekeeping:

You reckon? she say. He seem so much to love it. To tell the truth, he love that part of housekeeping a heap more ‗en me. I rather be out in the fields or fooling with the animals. Even chopping wood. But he love cooking and cleaning and doing little things round the house. (Walker, 1982, p. 66)

Sofia also does not fit the image of weak and fragile women of the ideal early 20 th century black women. She certainly defies that image of weak and fragile woman. Every time Celie sees Sofia fights with Harpo, how Sofia successfully overpowers

They fighting like two mens ‖ (Walker, 1982, p. 44). Sofia ‘s body posture supports this masculinized image too, as stated by Celie in ―Sofia look half her size. But she still a big strong girl. Arms got muscle. Legs, too. She swing that baby about like it nothing. She got a little pot on her now and give you the feeling she all there. Solid. Like if she sit down on something, it be mash ‖ (Walker, 1982, p. 41). In The Color Purple, Sofia is described through Celie ‘s eyes as manly, probably due to the shared image in the community Celie has for women who should be weakly and passive. Celie ‘s comment in ―Sofia don‘t even deal in little ladyish things such as slaps ‖ (Walker, 1982, p. 89) as if stresses the notion that Sofia is manly, as indicated in her actions. Celie says that ―Sofia right about her sisters. They all big strong healthy girls, look like amazons ‖ (Walker, 1982, p. 74) as her remark when she sees Sofia ‘s sister. Sofia—and her sisters—are described as Amazon by Celie, one of the stereotyped black woman images in many literary works. In many literary works, ―the black female was depicted by whites as an Amazon because they saw her ability to endure hardships no ―lady‖ was supposedly capable of enduring as a sign that she possessed an animalistic sub-human strength ‖ (Hooks, 1981, p. 81-82).

Unlike other dependent black woman, Sofia and her sisters are trained to be able to fight and to take care of themselves. This is done due to the increasing number of incest and rape, and they do this as an act of protection. They vow to fight for their

want to be like their mother who was passive and subservient. Sofia and her sisters are labeled as ―the other‖ in the black community and this is as portrayed in ―… folks crying and fanning and trying to keep a stray eye on they children, but they don‘t stare at Sofia and her sisters. They act like this the way it always done …‖ (Walker, 1982, p. 222). As ―the other‖, the community seems to avoid any interaction with Sofia or her sisters. They consider them as different because of their independency, their physical strength, and for their behavior of doing things which usually is not done by black woman. The community labels them as ―the other‖ because they do not fit the image of passive woman, they do not follow the shared rules in the community. In response to Sofia ‘s strength and endurance, Harpo says: ―… woman spose to take it easy. Cry if you want to. Not try to take over ‖ (Walker, 1982, p. 219), Sofia has the domineering image in her household. She tries to do everything, including the task that should have been done by her husband. As a result she is also labeled as black matriarchs as she has the upper-hand in the house.

In The Color Purple, Shug might be best fitted the image of modern woman or the new version of womanhood. She presents the image of modern woman, ―with their physical freedom, energy, and independence ‖ (Dumenil, 1995, p. 22). The image of modern woman also relates to the emphasis on sexual attractiveness, which is also shown through Shug ‘s attire, songs, and performances. Almost similar to Sofia, Shug Avery shows her independency and unwomanly behavior almost in the whole In The Color Purple, Shug might be best fitted the image of modern woman or the new version of womanhood. She presents the image of modern woman, ―with their physical freedom, energy, and independence ‖ (Dumenil, 1995, p. 22). The image of modern woman also relates to the emphasis on sexual attractiveness, which is also shown through Shug ‘s attire, songs, and performances. Almost similar to Sofia, Shug Avery shows her independency and unwomanly behavior almost in the whole

Shug come over and she and Sofia hug. Shug say, Girl, you look like a good time, you do. That when I notice how Shug talk and act sometimes like a man. Men

say stuff like that to women, Girl, you look like a good time. Women always talk bout hair and health. How many babies living or dead, or got teef. Not bout how some woman they hugging on look like a good time. (Walker, 1982, p. 87)

However, Celie makes such a comment because she lives in a community where they put solid barrier of difference between men and women. Unconsciously, this barrier influences on what kind of talk woman or man should have. It is also a part of woman/man stereotypes in the community. Just because Shug makes conversation on something man usually had, she is seen as unwomanly. If Sofia still takes care of her children and husband, Shug Avery is not motherly type; she does not take care of her children until later in the end of the story. She prefers to leave her children with her mother, as stated in the following:

My kids with they grandma, she say. She could stand the kids, I had to go. You miss ‗em? I ast. Naw, she say. I don‘t miss nothing. (Walker, 1982, p. 57)

To ensure her independency, Shug violates the codes of ―good‖ black woman the Black Madonna activists tried to promote by wearing sensual clothes, making money by singing blues in nightclubs, and having fun in the inappropriate places. In the year of Black Madonna movement, these activists ―policed the working class women ‘s behaviors and attacked Black women who did not uphold the standards of respectable womanhood such as blues singers, gamblers, prostitutes and performers ‖ (Mgadmi, 2009, para. 16). The actions she does are the actions black women try to avoid due to bad labeling attached to them. As a result, Shug Avery is labeled as bad black woman in the black community. Due to her work as a blues singer, many people badmouth her. This is stated by a preacher in Celi e‘s church after Shug‘s arrival in the neighborhood:

Even the preacher got his mouth on Shug Avery, now she down. He take her condition for his text. He don‘t call no name, but he don‘t have to. Everybody know he mean. He talk bout strumpet in short skirts, smoking cigarettes, drinking gin. Singing for money and taking other women mens. Talk bout slut, hussy, heifer, and streetcleaner. (Walker, 1982, p. 51)

Black community might see Shug fitting the stereotypes black woman image as Jezebel, which used to appear in many literary works in the antebellum era. She has bad predicate as whore and sexually loose. Although she might not be prostitute, the fact that she makes money by singing in the nightclubs make the people think that she is a prostitute. This portrayal applies the common stereotype of black woman as Jezebel image, as stated by Bell Hooks from a Southern white male writer that ―I had

fun ‖ (1981, p. 63). Through her actions Shug wants to show that black woman should be able to show the society the real thing about them. She thinks that instead of fitting the image of ideal white woman, they should go with their own black womanhood. She expresses her feelings through her performances and songs, because she writes her own songs. Unfortunately, songs and woman singer were considered sinful things in the early 20 th century. They were considered as devaluing black community, especially for a woman singer, she would get bad predicates. As stated by Celie:

―what that song? I ast. Sound low down dirty to me. Like what the preacher tell you its sin to hear. Not to mention sing ‖ (Walker, 1982, p. 60), songs (especially blues)

implied sensuality. As stated by Mgadmi, ―Blues singers‘ lyrics were redolent with sexual images, which conflicted with this ―respectable‖ identity‖ (2009, para. 16), black men see Shug ‘s performances and songs as sexual pleasure due to the lyrics and her sexually attractive attire. Her performances are seen as entertainment, because it is rare to find a black woman singer and she dances wearing sensual clothes in the early 20 th century, especially in Deep South.

Shug also wears sensual clothes with catchy-color —which is avoided by most black women at that time. Her attires were the opposition image of black women tries to promote and label it as inappropriate and bitchy. The first time Shug came to Celie ‘s house, Celie was surprised seeing the kind of attire Shug wore: the red dress Shug also wears sensual clothes with catchy-color —which is avoided by most black women at that time. Her attires were the opposition image of black women tries to promote and label it as inappropriate and bitchy. The first time Shug came to Celie ‘s house, Celie was surprised seeing the kind of attire Shug wore: the red dress

black beads. A shiny black hat with what look like chickinhawk feathers curve down side one cheek, and she carrying a little snakeskin bad, match her shoes.

She look so stylish it like the trees all around the house draw themselves up tall for a better look …. (Walker, 1982, p. 52)

In the later quote, it is described that Shug always wear sensual attire for her performance, make every man not be able to resist the urge to look at her.

… And Mr. ____ looking at Shug‘s bright black skin in her tight red dress, her feet in little sassy shoes. Her hair shining in waves. (Walker, 1982, p. 80)

…. Shug wearing a gold dress that show her titties near bout to the nipple. Everybody sorta hoping something break. But that dress strong. (Walker, 1982, p. 86)

She dresses unlike all the woman in South will be. She wears sexy clothes which reveals most of her body parts, and makes her the gaze of every male who go to see her performances. As expected from the influence of Black Madonna movement, her fashion style is resented by ―respectable‖ black woman. They say that her style is really inappropriate for a woman to wear that kind of clothes. Women supposed to wear dress, like any respectable white women dressed.

Shug uses uncommon means in making her own money and she proves her independency with it. She does not need to depend on any men to provide her, like the common black women. Her job as a blues singer gives her a lot of fortune,

owns her own car, land, and house, and lots of money. The point she gets married with Grady is really unexpected. As described above, upon marrying, she still performs and basically provides the economy support for her and her husband. The notion that Shug as the money provider while Grady is unemployed ensured Shug ‘s image as unwomanly figure. As explained in Ain ’t I a Woman, due to the influence of white patriarchal society, black woman should not be the economy provider as well as not to work outside the house because it was the action of demasculinizing black man. As explained by Bell Hooks, ―black women were told that they had overstepped the bonds of femininity because they worked outside the home to provide economic support for their families and that by so doing they had de-masculinized black men ‖ (1981, p. 75), this was the black matriarchs predicate came from. Black matriarchs predicate applied to female breadwinner, female-headed households, and the figure of domineering black woman inside the house. Instead of giving black woman positive power in the house, this predicates resulted on bad image on them. They were being said as paying less-respect to their husbands, and being labeled as unladylike/unwomanly.

In The Keepers of the House Margaret has dual portrayal. Through William Howland ‘s point of view, she is portrayed as fragile-looking black woman, but on the other side she is seen as independent black woman. Through the narration of her life with the Charmichaels, she is depicted as independent woman. She lives in a different

her family are less demanding if compared to the men in The Color Purple, thus Margaret is able to do almost everything she wants to do. She depends on no one in her family, and she prefers being alone. Being depicted as a mulatto, she makes some distance from her black family members, as described in ―… she slipped into the shelter she had built for herself, a bit away from all the others, and, tired by her long work, stretched out under it ‖ (Grau, 1964, p.114). She always spends her time alone apart from her families, most probably because she feels that she was unfit in her family since she considers herself as white. As stated in the response she makes towards Will iam‘s offering of becoming his housekeeper, she expects to be getting out from her house, in order to be independent.

Margaret ‘s posture as a big-build black woman ensures the image of independent black woman —or historically stereotyped as Amazon. She has the same posture as Sofia in The Color Purple —who is explicitly called Amazon by Celie. This body posture was the common black woman portrayal by many white woman authors in both antebellum and post-bellum fictions. Her body posture, as stated in

―she spun on her heel and went into the house, carrying her tall broad body defiantly‖ (Walker, 1982, p.107) supports the image of independent woman Grau gives

Margaret, as Margaret can do most of the house and field works by herself. Her body posture also gives the impression that she is strong, as strong as she looks, stronger than any other white woman she comes into in the Howlands estate. She is also in

very quiet. As described by Abigail Howland, Margaret is the depiction of independent woman; which is unusual to encounter in the South. Although Margaret lives among the whites, she is trained to be independent. In the story, having the status of wife to William, Margaret rarely shows her dependency towards him, most probably because the story was seen through Abigail ‘s point of view, by which does not pay too much attention to this. In Abigail ‘s eyes, Margaret tries to be independent by doing every favors for herself, but actuality William Howland as her husband still provides her with everything. William builds her a house and some properties by using Margaret ‘s name, so that she does not have to depend on William, and of course due to the racial problems too. As described in:

We saw the will, a few days later, and there wasn‘t a mention of Margaret in it …

―Margaret‘s car, the one she left in—you remember that?‖ ―Don‘t be mean, John.‖ ―It was her car. It was in her name.‖ ―Oh,‖ I said. … ―Look, honey, I don‘t know anything either, except maybe this one

thing. He took care of Margaret. He gave it to her, years ago, I bet. He left her plenty to live on, and their kids too. Trust funds when they were in school or something like that. ‖

… ―When Margaret first built the house, when was that?‖ He scratched his head. ―I wasn‘t nothing but a kid then. Six, seven years

ago. ‖ So that was how long ago my grandfather had given it to her. Oliver had known; he ‘d told me the truth. (Grau, 1964, p. 218-220)

children) went by wagon, a new one that handled easily and wouldn‘t tire the mule. Margaret drove them every day, along with any of other Negro …‖ (Grau, 1964, p.145-146), Margaret is given a wagon for her to drive her children and for her easiness for mobility, later she even owns her own car. Instead of depending on someone who will do her favor, she learns how to drive and do it by herself. This does not happen to most Southern white woman due their conservativeness towards woman dependency. This is as seen through Abigail, who is trained to be dependent. However, Annie Howland, Abigail ‘s grandaunt, who lived in the North is pretty independent. Through her statement to Abigail, she infers that dependent woman is not an issue anymore. Annie insists that Abigail should know how to drive a car, for her own practicality of going forth and back every time she wants to go back to the Howland estate.

After visiting Margaret not long after William ‘s death, on her way home Abigail imagines her grandfather ‘s ghost talking to her about Margaret‘s meaning for him:

By the time I got home that evening, I did understand. As if he ‘d explained to me at last. He ‘d protected and cared for so many females in his life, that he just looked on us as responsibilities and burdens. Loved, but still burdens. …

Sometimes he must have felt that he was being smothered in dependents. There hadn ‘t been a man of his blood in so long. And that must have worried him too.

All those clinging female arms …. And then there was Margaret. Who was tall as he was. Who could work like a man in the fields. Who bore him

a son. Margaret, who ‘d asked him for nothing. Margaret, who reminded him a son. Margaret, who ‘d asked him for nothing. Margaret, who reminded him

Abigail ‘s imagination is the signal of how Abigail regards Margaret from herself. However, the account of her grandfather ‘s ghost is too blurry, and it seems that it was Abigail ‘s subconscious who talks to her, or that is the way she wants him to think about Margaret. Seen through Abigail ‘s imagination, Margaret is different from the other dependent women in William ‘s life. Both William and Abigail understand that, as Margaret is a black woman, Margaret is strong and independent enough to do everything on her own. In addition, William has someone he can depend on, instead of someone to protect to.

From the analysis I can infer that both authors are successful on portraying black woman to fit the ideal woman images of its own era. Both authors try to portray black woman fitting the image of the early 20 th century ideal woman, from black and white point of view. Celie from The Color Purple and Margaret from The Keepers of the House as portrayed by its authors fit the image of ideal woman. It is seen from their passiveness and dependency, also for their ability as perfect homemakers. If Alice Walker portrays Celie as an ideal woman due to the influence of the Black Madonna movement, making her as the perfect white woman imitation of ideal woman, Grau portrays Margaret to fit the image of ideal woman in accordance with the values she has as a white woman, with the addition of Margaret ‘s originality as a mulatto gives Grau the prestige of making Margaret as the perfect prototype fitting the image of ideal woman.