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walker/marshall


Walker states that:.
             Therefore we must pull out of ourselves and look at and.
             identify with our lives the living creativity some of our.
             great-grandmothers were not allowed to know. I stress.
             some of them because it is well-known that the majority.
             of our great-grandmothers knew without even "knowing".
             it, the reality of their spirituality, even if they didn't.
             recognize it beyond what happened in the singing at.
             church (Walker, 1996: 2318-2319).
             Walker delves into the subconscious and ever-present spirituality that is found in African-American women and she believes that it is important to identify with this. Some of these women had the potential to be great writers. Walker identifies with this potential and she expresses their creativity and culture through her own writing. Therefore, Walker's writings become the bridge that connects the gap between African-American women of the past and their search to be able to express their creativity and spirituality. Walker breaks down the barriers that these women could not overcome:.
             [T]he subject of recovery has been the concern of many .
             black women writers who seek various kinds of redemption.
             for women who have been imprisoned in sexist fantasy or.
             racist stereotype for too long (Dixon, 1987: 107).
             Walker may have the freedom to write, but she can also identify with the historical racism that had haunted her ancestors. She feels connected to the toils and hardships that the black women had been subjected to, and this is a way that Walker identifies herself to her African-American ancestors.
             Marshall's identification with her African-American ancestors is more explicitly involving her mother and her mother's friends. What may be viewed on the surface as a typical black woman domestic labourer to most people, is what Marshall sees as the ultimate expression of art.


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