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Compare and contrast the presentation oI sex and sexuality in The Color Purple by
Alice Walker and Oranges Are Not The Onlv Fruit by Jeanette Winterson

The theme oI sex and sexuality contributes to the important ideas oI a struggle
in the novels The Color Purple and Oranges Are Not the Onlv Fruit. Sex is presented
through gender and the physical act, and sexual orientation is emphasised Ior
sexuality. The novels chart the development oI the protagonists, Celie and Jeanette,
through their growing sexuality and their positions as women in society. Their
struggles, however, are diIIerent. Celie`s predicament is that oI being a woman in a
patriarchal society, whereas Jeanette`s is living with her sexuality in a strict,
Iundamentalist, Christian household and church community. These are presented
through attitudes oI society, and through other characters. Celie`s Iather and her
husband both abuse her violently and sexually in The Color Purple. Both men
contribute signiIicantly to Celie`s initial powerlessness to Iight back. In Oranges Are
Not the Onlv Fruit, however, Jeanette`s mother and the church are antagonists in her
Iight Ior her homosexuality. Both oI the authors, Alice Walker and Jeanette
Winterson, use similar techniques to suggest the importance oI sex and sexuality and
to demonstrate how they progress throughout the novels.
One oI the main methods used to present the theme oI sex and sexuality are
the use oI other characters, especially their dialogue. Both writers use the male gender
to symbolise authority. Walker uses Celie`s Iather, Fonso, in the Iirst Iew letters to
illustrate sexual and violent abuse towards women. Fonso`s use oI undue pressure on
Celie`s mother to have sex with him as he is 'pulling on her arm whilst she is
extremely ill gives the idea oI the selIishness oI men and their deep interest in selI-
satisIaction. Her reply that she is 'already halI dead illustrates this Iurther as he starts
to use Celie to satisIy his needs when he says 'you gonna do what your mammy
wouldn`t. It seems that they live in a patriarchal community, thereIore women can be
treated like this by a man and that it is a man`s right to have this privilege. His
language towards her is also disgraceIul, especially when he tries to sell her to a man
called Albert in letter 7. He calls her ugly and describes her as 'no stranger to hard
work and that 'you can do everything just like you want to and she ain`t gonna make
you Ieed it or clothe it. This provides an insight into the treatment and lives oI
women. Women are expected to be domestic slaves, sexual objects and are solely
responsible Ior taking care oI the children. This explains Celie`s struggle with actually
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dealing with being a woman. A contrast can be made to Jeanette, as she also has a
struggle relating to sex and sexuality, but this is Iocused more on her homosexuality.
This is indicated through mainly her mother. It is explained that 'she had never heard
oI mixed Ieelings and that 'sex (in its many Iorms) was an enemy oI hers. This
hints at the Iact that she, like the church, is very narrow-minded. Her view oI
homosexuality is made much clearer when Jeanette asks to visit the beach with the
two women who owned the paper shop. Winterson uses alliteration as phonetic
emphasis Ior this as Jeanette`s mother replies 'Iirmly and Iorever, no. She does not
let Jeanette ever go back, Ioreshadowing the cutting oII oI all homosexuals. Mrs.
White describes the women to have 'dealt in unnatural passions. Winterson`s use oI
the term 'unnatural symbolises the community`s belieI that homosexuality is
abnormal and deviant, and thereIore shows the dismissal oI all homosexuals.
The bildungsroman genre oI the narratives contributes to the growth oI the
protagonists` sex and sexuality Irom a struggle to strength. Celie`s mental weakness is
due to men and their treatment towards her. Her acknowledgment oI this is shown
when her reply to Iighting back is 'I don`t know how to Iight. All I know how to do is
stay alive. The power oI patriarchy wears Celie to submission. This passivity is
contrasted with Jeanette`s similar attitude. The chapter oI Joshua includes Melanie`s
conIession to the church oI their sexual relationship. Melanie was soon 'calm,
cheerIul and ready to accept repentance and later on in the chapter Jeanette was her
'old selI again. This illuminates the impact the homophobic religion ideology has on
people, as it coerces both Melanie and Jeanette into submission and they are thereIore
required to stiIle their sexual identities. These attitudes, however, do develop at later
stages. The main progress in Celie`s struggle is in letter 74 where Albert is told that
she is moving away with Shug. Celie`s reply to 'over my dead body is that he is a
'lowdown dog and explains that his 'dead body just the welcome mat that she
needs. She admits to Harpo that 'you made my liIe a hell on earth and that 'your
daddy here ain`t dead horse`s shit. Walker uses animal imagery such as 'dog and
'horse to compare with the men. This emphasises that they are not real men, neither
are they real humans. This is illustrated Iurther when she curses him, and explains
'until you do right by me, everything you touch will crumble and 'everything you
even dream about will Iail. Celie has started to Ieel proud oI being a woman and has
decided not to accept any kind oI abuse Irom anyone, especially a man. Similarly,
Jeanette`s grows in conIidence through her relationship with Katy mentioned at the
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end oI the chapter oI Joshua. Jeanette states that 'she was my most uncomplicated
love aIIair, and I loved her because oI it. Katy`s inIluence and love make Jeanette`s
sexuality more clear to herselI. Although she has 'no intention oI telling |Melanie| or
anyone else what happened between them, and this emphasises her same struggle to
deal with the attitudes towards homosexuals. She has learned to deceive because her
sexuality is unacceptable to the church. Celie`s relationship with men, and in
particular Albert, grows additionally when she revisits him. They have decent
conversations and Albert Irequently compliments her, including her appearance when
he says 'you look real good. This can be contrasted with his previous reIerences to
her appearance when he said 'you black, you pore, you ugly, you a woman and 'you
nothing at all. This portrays the society`s idea that actually being a woman is seen as
a disadvantage, and especially being a black and ugly woman. Towards the very end
oI the novel Celie makes a suggestion to Albert that even though she still doesn`t like
Irogs 'let`s us be Iriends. Celie has gained respect due to being a strong and
independant woman. Correspondingly, Jeanette shows her commitment to love
towards the end oI the novel in the chapter Ruth. She explains that she would 'cross
seas and suIIer sunstroke and give away all |she has| but not Ior a man. This
declarative is very decisive and portrays clarity in her mind that she is a stable lesbian.
Both writers use their protagonists` sexual encounters to represent sex as a
physical act by the use oI imagery. In letter 24 Celie 'Ieel like |she`s| praying as she
washes Shug. Walker uses this simile to equate washing Shug with praying to reveal
Celie`s devotion to Shug. Walker also uses a simile to emphasise Jeanette`s love Ior
Melanie as '|Melanie| stroked my head Ior a long time, and then we hugged and it Ielt
like drowning. Further imagery oI the metaphor 'I had an octopus inside oI me also
illustrates their love Ior each other. Winterson uses this imagery to demonstrate the
innocence oI their relationship, and by doing this it allows the reader to see the natural
and pure process that Jeanette undergoes in discovering who she is. Both writers
conIirm their protagonists` sexualities.
Both writers use imagery derived Irom the titles oI their novels to present the
theme oI sex and sexuality. In particular the use oI colours purple and orange are
important motiIs throughout the novels. The meanings oI the motiIs change as the
novels progress, and the authors have done this to chart the development oI the
protagonists. The very Iirst mention oI !:750is in letter 12, where Celie cannot Iind
any clothing oI that colour in the store. She sees purple as a colour that Shug 'would
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wear, and so one to be valued, but it is unattainable as 'us look an look and no
purple. This symbolises a woman who is strong and proud to be so, but Celie cannot
imagine herselI to be such a woman. In comparison, it seems that the colour orange is
portrayed through the Iruit oI orange. In the chapter oI Exodus, Jeanette realises that
she cannot hear and so writes a note to her mother, whom pays no attention. Jeanette
simply 'took an orange and went to bed. The symbolic importance oI this is that the
Iruit is a replacement or a substitute oI a maternal Iigure who is understanding in all
areas, including Jeanette`s sexuality. Jeanette also mocks her mother`s view that
oranges are 'the only Iruit in this particular chapter. Winterson uses syndetic listing
oI 'Iruit salad, Iruit pie, Iruit Ior Iools, Iruited punch. Demon Iruit, passion Iruit,
rotten Iruit, Iruit on Sunday in order to do this. The orange at this point is a symbol
Ior heterosexuality and the opinion that they are 'the only Iruit implies that
heterosexuality is the only sexuality. Both oI these initial indications oI colour suggest
the protagonists at their weakest. Celie is struggling with being a proud woman, whilst
Jeanette is struggling to deal with people that do not accept her homosexuality.
Both writers use multiple narratives to represent sex and sexuality. Walker
does this through Nettie`s letters, in which she provides an insight into gender roles
and attitudes in the Olinka tribe. She starts to develop an awareness oI the unIair
treatment oI women all over the world. Letter 62 reveals that the Olinkans do not
believe that girls should be educated and when Nettie asks a mother why this is she
replies that 'a girl is nothing to herselI; only to her husband she can become
something. Walker`s use oI negatives echoes Albert`s words 'you nothing at all.
The character oI Tashi provides Iurther inIormation on the attitudes towards young
girls. Nettie suggests to her parents that Tashi could be a teacher or nurse but her
Iather`s response is that 'there is no place here Ior a woman to do those things. He
suggests that Olivia may visit to 'learn what woman are Ior. This chapter explores
the rigid gender roles prescribed in the Olinkan culture, and Nettie makes a
comparison to the patriarchy Iound in the Southern United States as this reminds her
'too much oI Pa. This suggests that the younger women do not easily accept
traditions that violate their sense oI selI. Letter 65, especially, develops these attitudes
through mothers oI young girls. 'The boys now accept Olivia and Tashi in class and
more mothers are sending their daughters to school but 'the men do not like it and
Iume 'who wants a wiIe who knows everything her husband knows? The Olinkan
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men no longer maintain omnipotent control as the women begin to assert their ideas
as they encourage their daughters to be educated Ior the very Iirst time.
Winterson, however, uses multiple narratives through means oI Iantasy
allegories. In the chapter oI Leviticus, Jeanette begins to Iorm her own belieIs and
rules. Winterson inserts the narrative oI the prince to symbolise Jeanette and her
relationship with the church. The prince wants a wiIe 'without blemish inside or out,
Ilawless in every respect. She must be perIect. The goose tells him that 'what you
want can`t exist and as a consequence the goose is beheaded. The prince believes
that the world Iits within his imagination, and this symbolises the church as it creates
it`s theology and assumes that the world should Iit within it. The woman that the
prince Iinds 'was indeed perIect, there was no doubt about that, but she wasn`t
Ilawless. The woman symbolises Jeanette as she appears perIect through her
submission and work Ior the church but is seen to be 'Ilawed by the church because
oI her homosexuality. Although the woman`s blood, as she was beheaded, 'drowned
the advisors and most oI the court the prince ironically survived. The prince is the
church as it will survive even though many oI it`s members will lose Iaith. Through
this, Winterson subverts the discourse oI heterosexuality as the woman rejects the
prince`s proposal oI marriage. This signiIies Jeanette`s rejection oI a heterosexual
match but instead oI being killed the church Ieels that Jeanette must be removed.
The use oI motiIs also contribute to the theme oI sex and sexuality. Walker
uses quilting and sewing between the women in the novel as a means oI sisterhood.
Celie and SoIia start to mend their relationship in letter 27 by piecing a quilt together
with a 'basket Iull oI scarps on the Iloor. As the quilt is put together with
mismatched pieces oI cloth, the mismatched lives oI women are put together into a
coherent whole throughout the novel. During the quilting the women can comIort
each other, and Celie starts to share her thoughts over Albert as she tells SoIia that 'he
alright in some things, not in others. Letter 60 portrays this Iurther as sewing is
pictured as an activity that unites women. Celie`s replies to Shug`s suggestion oI
making and wearing pants are 'I aint no man and 'Mr. not going to let his wiIe wear
pants. This emphasises gender roles in the way oI the power the men have over the
women. These attitudes are developed in letter 76 as Celie makes 'pants aIter pants
and changes 'the cloth.the print.the waist.the pocket.the hem.the Iullness oI
the leg. This suggests that they are suitable Ior everyone to wear including men and
women. This is illustrated Iurther at the end where under her name 'Folkspants
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Unlimited is printed. They are pants Ior Iolks who include men and women and they
are unlimited in every sense. In letter 77 Celie is 'so happy.got
love.work.money, Iriends and time. Her business meets with success and this
emphasises both her selI conIidence and economic Ireedom which Iacilitates her
Ireedom Irom patriarchy as she can earn how own living and not be dependent on
Albert. This is developed in letter 89 as stereotypes are liberated between Celie and
Albert as they 'sew and 'make idle conversation, so release Irom gender
stereotypes is harmonising.
In contrast Winterson uses the image oI a brown pebble which guides Jeanette
home and allows her to Iight. The Iirst time the pebble is introduced is in the chapter
oI Joshua when the orange demon throws it to Jeanette. The demon explains that they
are not evil 'just diIIerent, and diIIicult. The pebble, thereIore, is a reminder oI
Jeanette`s sexual identity as her liIe will be diIIerent and diIIicult but that is who she
is. The pebble appears Ior the second time as the raven Abednego throws it to Winnet
Stonejar to keep her saIe and she does this by 'clutching it tightly. Winnet represents
Jeanette as she too holds the pebble in moments oI crisis. The pebble in this allegory
becomes a talisman that evokes the Iairytale oI Hansel and Gretel, in which stones
were used as a guide to home. The raven also coughs 'a rough brown pebble into her
hand and explains that it is his heart oI stone that 'grew thick with sorrow, and
Iinally set because he 'chose to stay. He clariIies that 'it will remind you. This
symbolises that Jeanette has a chance to escape as the pebble will guide her towards
home, which is her true selI and ultimately her sexual identity.
Walker and Winterson have used similar techniques to represent sex and
sexuality, but they Iocus on slightly diIIerent aspects oI the theme. Walker
concentrates on patriarchy and so raises gender issues. Celie`s journey is to overcome
these issues or attitudes in her society and eventually Iind love, prior to Shug`s
tenderness. Although she has experienced the physical act oI sex, it has been
meaningless because it was made without love. Winterson, however, is condemning
homophobic ideology and she explains that Oranges Are Not The Onlv Fruit
'illustrates by example that what the church calls love is actually psychosis and it
dares to suggest that what makes liIe diIIicult Ior homosexuals is not their perversity
but other people`s. Jeanette experiences this as her journey through the novel was to
leave the church and become a proud homosexual.

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