Opening with her initial novel, 'The Third Life of Grange Copeland', Walker has all ears on a medium, which includes sexual and tribal truths within black communities as well as the inescapable relations between family and civilization.
Born in 1944 in Eatonton, Georgia, to sharecropper parents, Alice Walker has become one of the best-known and most highly respected writers in the U.S. Educated at Spelman College and Sarah Lawrence College, Walker, in a commencement speech at Sarah Lawrence years later, spoke out against the silence of that institution's curriculum when it came to African-American culture and history. Vigorous in the 1960s Civil Rights Movement, she utilized her own and others' incidents as substance for her intense inspection of politics and black-white associations in her novel Meridian. (Winchell, 20-27)
Opening with her initial novel, “The Third Life of Grange Copeland”, Walker has all ears on a medium, which includes sexual and tribal truths within black communities as well as the inescapable relations between family and civilization. For revealing the former, some African-American male reviewers have condemned her; for discovering the latter, she has been awarded many prizes while captivating the hearts and minds of innumerable black and white bookworms. Possibly her most well-known work is “The Color Purple”, brought to the notice of conventional America through the film version by Steven Spielberg. In that novel of sibling attachment, incest and lesbian love, Walker also brings in blues music as a combined thread in the lives of many of the characters. (Winchell, 20-27)
In The Color Purple, Alice Walker's Pulitzer Prize winning novel, the blues singer Shug is the sassy, sensual, bounteous woman who awakens the brutalized and silenced Celie to her own strength and sexuality. With loving song and tender touch, she opens Celie to her own loveliness and possibility and reveals a God who is not the "big and old and tall and gray bearded and white" stern codger of Celie's old-time religion but, instead, an expansive God of trees, air, birds, people -- an erotic God who "love all their feelings," who "love everything you love," and "love admiration. . . . just wanting to share a good thing."
With her story, "Everyday Use," Alice Walker is saying that art should be a living, breathing part of the culture. To make this point, she uses the quilts in her story to symbolize art; and what happens to these quilts represents her theory of art. (Christian, 25-28) Everyday Use”, is written in the African-American tradition. Walker has used quilts in the story to symbolize art, to represent the history of family and their culture. The quilts were sewn of cloth pieces of their ancestors. The main characters of the story are mother and her two daughters Maggie and Dee. Both sisters have separate approaches to the family legacy and their evaluation of art is different. For Maggie, the family heritage was important for emotional and personal reasons whereas Dee weighed these things in monetary and financial terms. The mother, a middle-aged black woman always praises and overrates her elder daughter Dee over Maggie, the younger one. The history of these quilts is a history of the family. (Christian, 25-28)
Walker adds “I learn that the writer's pen is a microphone, held up to the mouth of ancestors and even stones of long ago”. (Christian, 25-28)
Christian, Barbara “Everyday Use. Alice Walker: Critical Perspectives Past and Present”. New York: Amistad, (1993) p.25-28
Winchell, Donna Haisty. “Alice Walker”. New York: Twayne, (1992) p. 20-27
打開與她初步小說， “田莊科普蘭的第三次生命” ，行者有耳朵的媒體上，在黑人社區內以及不可避免的家庭和文明之間的關系，其中包括性和部落的真理。對于揭示了前者，一些非洲裔男性的評論紛紛譴責她發現了后者，她已經獲得許多獎項而迷人的芳心無數的黑色和白色的書呆子。可能是她最知名的作品是“紫色”，通過由史蒂文·斯皮爾伯格的電影版帶到美國常規的通知。在，兄弟附件，亂倫和同性戀愛的小說，沃克合并線程在許多人物的生活也帶來了藍調音樂。 （溫切爾20-27）
紫色，艾麗斯·沃克的普利策獎獲獎小說，藍調歌手沙戈是時髦的，感性的，寬裕的女人誰喚醒了自己的力量和性摧殘和壓制西麗。愛歌曲和招標觸摸，她打開西麗她自己的魅力和可能性，并揭示誰是不是“大和老和高大和灰色大胡子和白色的”嚴厲的怪人塞利耶舊時代的宗教神，而不是，一個廣闊神樹，空氣，鳥，人 - 色情神“愛自己的感情， ”誰“愛你所愛的一切”和“愛欽佩......只是想分享一件好事。 ”
隨著她的故事， “日常使用， ”艾麗斯·沃克說，藝術應該是一個活生生的文化的一部分。為了使這一點，她用被子在她的故事中的象征藝術，以及會發生什么這些棉被，代表了她的藝術理論。 （基督教， 25-28）日常使用“ ，是寫在非裔美國人的傳統。沃克已經用棉被故事中的象征藝術，代表家庭和他們的文化歷史。縫制的棉被，布片，他們的祖先。故事的主角是母親和她的兩個女兒瑪吉和迪伊。姐妹倆有不同的方法，家族的優良傳統和他們的藝術的評價是不同的。對于張曼玉，重要的是家族傳承迪伊稱重情感和個人的原因，而這些東西在貨幣和金融方面。母親，一個中年黑人婦女總是稱贊高估了她的大女兒迪伊過張曼玉，年輕的一個。這些棉被的歷史是家族的歷史。 （基督教， 25-28）
沃克補充說： “我得知作家的筆下是一個麥克風，舉起口的祖先，甚至是很久以前的石頭” 。 （基督教， 25-28）
基督教，芭芭拉“日常使用。艾麗斯·沃克：批判的觀點過去和現在“ 。紐約：勇者無懼， （ 1993年）第25頁28
溫切爾， Donna Haisty的。 “艾麗斯·沃克” 。紐約： Twayne ，（1992） 。 20-27