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
Mary Agnes (Squeak)
A small woman?
Although Mary Agnes is a less significant character, she too displays the individuality and resilience of the female spirit. When Sofia leaves Harpo, he begins a relationship with Mary Agnes, whose nickname, Squeak, signifies her potential as another female victim. Physically Mary Agnes is small and quite submissive, with a faint voice. Looking after Harpo and Sofia’s children when Sofia is imprisoned puts a severe strain on her and her self-confidence is diminished.
Her first encounter with Sofia in the juke joint illustrates not only the great physical difference between the two women, but also their different temperaments. Squeak tries to assert her claim over Harpo by slapping Sofia’s face, probably expecting Sofia to be suitably chastised. Unfortunately Squeak seriously underestimates Sofia’s capacity to absorb punishment and loses two teeth when she is punched in the face by Harpo’s indignant first wife.
Developing strength
When Sofia is imprisoned, we see a more resilient aspect of Squeak’s character. Showing the generosity of women towards one another, it is Squeak who visits her white uncle, the prison warden, to try to get Sofia released from prison. Although she is raped by him in the process, she is ultimately successful in getting Sofia transferred to serve as a maid in the Mayor’s household.
From this point onwards, Mary Agnes insists that she is called by her given name. Reclaiming it symbolises her new strength and shortly afterwards she begins a singing career in the juke joint. Her singing voice is described as being like ‘panthers if they could sing’, an interesting comparison that suggests the subdued ferocity underneath a sleek wild animal.
In the pivotal Letter 74, Mary Agnes joins the other female assertions of independence by declaring that she is moving north to be a professional singer, with Shug’s assistance, while Sofia looks after Susie Q, the child that Mary Agnes had by Harpo. Relatively young and with paler skin (as the product of a mixed race liaison), Mary Agnes is regarded as attractive and becomes a subject of male lust from Shug’s husband Grady, but uses this to her own advantage. For a while, he provides both emotional and financial security.
Although she almost succumbs to the lure of constant reefer smoking which dulls her senses and causes concern amongst her friends, ultimately Mary Agnes reclaims her life. She leaves Grady and the plantation in Panama, succeeds in her singing career and eventually moves back to her family in Memphis, collecting Susie Q so that her relatives can take care of her daughter when she’s away. Unlike Shug, but similar to Sofia, her commitment to her offspring is stronger than her loyalty to any man.
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