By Harold Bloom
The prestige of Alice Walker as a interval author or everlasting determine in American literature continues to be a resource of dialogue between critics. This quantity examines Walker's Meridian and the colour red, and encompasses a checklist of works by way of and concerning the writer. This sequence is edited via Harold Bloom, Sterling Professor of the arts, Yale college; Henry W. and Albert A. Berg Professor of English, ny college Graduate college; preeminent literary critic of our time. Titles comprise particular plot summaries of the unconventional, extracts from scholarly serious essays at the novels, a whole bibliography of the writer's novels, and extra.
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Extra info for Alice Walker, New Edition (Bloom's Modern Critical Views)
These occasional pieces have been collected in The Sanctified Church (Berkeley: Turtle Island Press, 1983). All the references to Hurston will be taken from this edition. 4. Alice Walker, Meridian (New York: Washington Square Press, 1977), 49–51. All subsequent references will be taken from this paperback edition. 5. Richard Kieckhefer, in Unquiet Souls: Fourteenth Century Saints and their Religious Milieu (Chicago: University of Chicago Press, 1987) presents a most balanced view of the hunger of the mystics for the freedom to fly to the Divine, and of the methods they employed to induce and sustain the ecstatic union.
The story “Coming Apart” is a good example: the husband dashes home from his bourgeois desk job to sit in the john and masturbate while drooling over the “Jivemates” in Jiveboy magazine. None of this shocks: we see so Alice Walker: The Achievement of the Short Fiction 39 many references to genitalia and elimination in You Can’t Keep that they seem as mundane as mailing a letter. Worse, the husband himself (called “he” to emphasize his role as Typical Male) comes across as a rather dense, naughty adolescent boy.
She had seen her work accepted around the world, welcomed even, which was more than she’d ever dreamed possible for it. And yet—there remained an emptiness, no, an ache, which told her she had not achieved what she had set out to achieve. (“Fame,” YCK, 55) The theme is stale; worse, the writing itself is trite, clichéd; and frankly one wonders how anyone with so unoriginal a mind could be receiving her one hundred and eleventh major award. The same triteness mars “A Sudden Trip Home in the Spring,” in which Sarah Davis, a black scholarship student at northern Cresselton College, is “immersed in Camusian philosophy, versed in many languages” (131) and the close personal friend of the small-eyed, milky-legged, dirty-necked blonde daughter of “one of the richest men in the world” (127).