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Alice Walker (1944- )
Alice Walker, an African-American and the child of a sharecropper 
family in rural Georgia, graduated from Sarah Lawrence College, where one of her teachers was the 
politically committed female poet Muriel Rukeyser. Other influences on her work have been 
Flannery O'Connor and Zora Neale Hurston.
A "womanist" writer, as Walker calls herself, she has long been associated with feminism, 
presenting black existence from the female perspective. Like Toni Morrison, Jamaica Kincaid, Toni 
Cade Bambara, and other accomplished contemporary black novelists, Walker uses heightened, 
lyrical realism to center on the dreams and failures of accessible, credible people. Her work 
underscores the quest for dignity in human life. A fine stylist, particularly in her epistolary dialect 
novel 
The Color Purple
, her work seeks to educate. In this she resembles the black American 
novelist Ishmael Reed, whose satires expose social problems and racial issues.
Walker's 
The Color Purple
is the story of the love between two poor black sisters that 
survives a separation over years, interwoven with the story of how, during that same period, the 
shy, ugly, and uneducated sister discovers her inner strength through the support of a female friend. 
The theme of the support women give each other recalls Maya Angelou's autobiography, 
I Know 
Why the Caged Bird Sings
(1970), which celebrates the mother-daughter connection, and the work 
of white feminists such as Adrienne Rich. 
The Color Purple
portrays men as basically unaware of 
the needs and reality of women.
The close of the 1980s and the beginnings of the 1990s saw minority writing become a 
major fixture on the American literary landscape. This is true in drama as well as in prose. August 
Wilson who is continuing to write and see staged his cycle of plays about the 20th-century black 
experience (including Pulitzer Prize-winners Fences, 1986, and 
The Piano Lesson
, 1989) -- stands 
alongside novelists Alice Walker, John Edgar Wideman, and Toni Morrison.
Asian-Americans are also taking their place on the scene. Maxine Hong Kingston (
The 
Woman Warrior
, 1976) carved out a place for her fellow Asian-Americans, among them Amy Tan, 
whose luminous novels of Chinese life transposed to post-World War II America (
The Joy Luck 
Club
, 1989, and 
The Kitchen God's Wife
, 1991) have captivated readers. David Henry Hwang, a 
California- born son of Chinese immigrants, has made his mark in drama, with plays such as 
F.O.B.
(1981) and 
M. Butterfly
(1986).

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