The Color Purple Contents
- The Color Purple: Social and political context
- The Color Purple: Religious and philosophical context
- The Color Purple: Literary context
- Textual help
- Letter 1
- Letter 2
- Letter 3
- Letter 4
- Letter 5
- Letter 6
- Letter 7
- Letter 8
- Letter 9
- Letter 10
- Letter 11
- Letter 12
- Letter 13
- Letter 14
- Letter 15
- Letter 16
- Letter 17
- Letter 18
- Letter 19
- Letter 20
- Letter 21
- Letter 22
- Letter 23
- Letter 24
- Letter 25
- Letter 26
- Letter 27
- Letter 28
- Letter 29
- Letter 30
- Letter 31
- Letter 32
- Letter 33
- Letter 34
- Letter 35
- Letter 36
- Letter 37
- Letter 38
- Letter 39
- Letter 40
- Letter 41
- Letter 42
- Letter 43
- Letter 44
- Letter 45
- Letter 46
- Letter 47
- Letter 48
- Letter 49
- Letter 50
- Letter 51
- Letter 52
- Letter 53
- Letter 54
- Letter 55
- Letter 56
- Letter 57
- Letter 58
- Letter 59
- Letter 60
- Letter 61
- Letter 62
- Letter 63
- Letter 64
- Letter 65
- Letter 66
- Letter 67
- Letter 68
- Letter 69
- Letter 70
- Letter 71
- Letter 72
- Letter 73
- Letter 74
- Letter 75
- Letter 76
- Letter 77
- Letter 78
- Letter 79
- Letter 80
- Letter 81
- Letter 82
- Letter 83
- Letter 84
- Letter 85
- Letter 86
- Letter 87
- Letter 88
- Letter 89
- Letter 90
Letter 69
Synopsis of Letter 69
Celie and Shug decide to pay a visit to Alphonso (Pa) whom Celie has only seen once since she was married off. They are struck by the natural beauty and evident prosperity of Celie’s old home. Fonso then arrives back from church, accompanied by a young woman called Daisy, who is his new fifteen year old wife.
Fonso boasts about his business success and tells Shug and Celie that he now employs a white man to run the store that formerly belonged to Celie’s father and has taken advantage of the white people in the town in order to become a successful businessman. He seems unrepentant about keeping the true story of Celie’s parents secret, claiming it was too sad a story to tell small children.
Celie asks him to tell her where her mother and father are buried, but Fonso tells her that neither have a headstone. When Shug and Celie visit the graveyard they cannot find the graves of Celie’s parents and Shug decides that since neither woman has a conventional family, she and Celie in future must be family to one another.
Commentary on Letter 69
This is the first of the letters addressed to Nettie rather than to God, representing an important development in Celie’s character. Even though she still has difficulties in her life, the fact that she and Shug have become such close companions gives Celie the courage to go back to her childhood home and face the man who damaged her so much as a child. The letter’s extensive imagery of flowers and spring is also symbolic of rebirth and hope.
Fonso is now married to his third wife, who is fifteen years old; so young that Celie feels nauseated when she sees them together. Note how conceited Fonso is when he tells Shug and Celie how he has managed to continue to run Celie’s father’s business and make it a success. The corrupt methods that he uses, with well-placed bribes and payoffs to his white competitors, confirm him as an unscrupulous and corrupt character. His obvious obsession for very young women (Celie’s step-mother May Ellen got too old for him) makes it easy to understand Celie’s horror of men in general.
It is significant that a loyal woman supports Celie through this encounter. When Celie and Shug fail to find the graves of Celie’s parents, it is Shug who reassures Celie that they are now one another’s family.
Investigating Letter 69
- Make notes on the imagery used in this letter that denotes the idea of new beginnings
- Look at the characters’ names as well as the descriptions of the environment.
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