Passage III

HUMANITIES: This passage is adapted from Alice Walker's autobiographical essay “In Search of Our Mothers' Gardens" (©1974 by Alice Walker).

How was the creativity of the Black woman kept alive, year after year and century after century, when for most of the years Black people have been in America, it was a punishable crime for a Black person to read or write? And the freedom to paint, to sculpt, to expand the mind with action, did not exist. Consider, if you can bear to imagine it, what might have been the result if singing, too, had been forbidden by law. Listen to the voices of Bessie Smith, Billie Holiday, Nina Simone, Roberta Flack, and Aretha Franklin, among others, and imagine those voices muzzled for life.

In the late 1920's my mother ran away from home to marry my father. By the time she was twenty, she had two children and was pregnant with a third. Five children later, I was born. And this is how I came to know my mother: she seemed a large, soft, loving-eyed woman who was rarely impatient in our home. Her quick, violent temper was on view only a few times a year, when she battled with the white landlord who had the misfortune to suggest to her that her children did not need to go to school.

She made all the clothes we wore, even my brothers' overalls. She made all the towels and sheets we used. She spent the summers canning vegetables and fruits. She spent the winter evenings making quilts enough to cover all our beds.

During the "working" day, she labored beside—not behind—my father in the fields. Her day began before sunup, and did not end until late at night. There was never a moment for her to sit down, undisturbed, to unravel her own private thoughts; never a time free from interruption—by work or the noisy inquiries of her many children. And yet, it is to my mother—and all our mothers who were not famous—that I went in search of the secret of what has fed that muzzled and often mutilated, but vibrant, creative spirit that the Black woman has inherited, and that pops out in wild and unlikely places to this day.

But when, you will ask, did my overworked mother have time to know or care about feeding the creative spirit?

The answer is so simple that many of us have spent years discovering it. We have constantly looked high, when we should have looked high—and low.

For example: in the Smithsonian Institution in Washington, D.C, there hangs a quilt unlike any other in the world. In fanciful, inspired, and yet simple and identifiable figures, it portrays the story of the Crucifixion. It is considered rare, beyond price. Though it follows no known pattern of quiltmaking, and though it is made of bits and pieces of worthless rags, it is obviously the work of a person of powerful imagination and deep spiritual feeling. Below this quilt I saw a note that says it was made by "an anonymous Black woman in Alabama a hundred years ago."

If we could locate this "anonymous" Black woman from Alabama, she would turn out to be one of our grandmothers—an artist who left her mark in the only medium her position in society allowed her to use.

And so it is, certainly, with my own mother. Unlike Ma Rainey's songs, which retained their creator's name even while blasting forth from Bessie Smith's mouth, no song or poem will bear my mother's name. Yet so many of the stories that I write, that we all write, are my mother's stories. Only recently did I fully realize this: that through years of listening to my mother's stories of her life, I have absorbed not only the stories themselves, but something of the manner in which she spoke, something of the urgency that involved the knowledge that her stories—like her life—must be recorded.

But the telling of these stories, which came from my mother's lips as naturally as breathing, was not the only way my mother showed herself as an artist. For stories, too, were subject to being distracted, to dying without conclusion. Dinners must be started, and cotton must be gathered before the big rains. The artist that was and is my mother showed itself to me only after many years. This is what I finally noticed.

She planted ambitious gardens—and still does—with over fifty different varieties of plants that bloom profusely from early March until late November. Before she left home for the fields, she watered her flowers, chopped up the grass, and laid out new beds.

Whatever she planted grew as if by magic, and her fame as a grower of flowers spread over three counties. Because of her creativity with her flowers, even my memories of poverty are seen through a screen of blooms.