Womens Stereotypes in Margaret Walkers Molly Means - Essay Example

Women’s Stereotypes in Margaret Walker’s “Molly Means” Margaret Walker’s “Molly Means” foregrounds the negative perception of women in societies that cost them labeling and stereotypes in the past centuries. The representation of women in literature as witches or just evil has been rampant in the 18th, 19th and even early 20th century. Therefore, Walker’s poem follows a long tradition that associates women with negative images that reflect the thought in patriarchal societies. Through Molly, Walker exposes the association between women and witches, darkness and evil and addresses the negativity reflected in the depiction of women. Besides, the poem also conveys an African American tradition of the conjure woman and the spiritual practices in the community. The mystical beliefs and practices Walker exposed in her poem stems from an African American tradition of spirituality that originates from the slave resistance. These spiritual practices used to counteract slavery became connected with African American customers throughout the years and were supposed to reflect the traditions of the community. This critic expresses the historical development of the belief: “The Eurocentric disdain toward spirit work was easily transferred to syncretic African practices once they began to visibly take hold in North America. Most noted in their use for slave resistance, African –based spiritual practices were unable to salvage their reputation as the North American colonies grew toward nationhood” (Martin). That’s how these practices became connected to the African American community and earned their representation in literature. Therefore, Walker’s Molly embodies this legacy deeply rooted in the culture and conveys the mystical and supernatural aspects of this tradition. However, this mysticism also exposes a negative image of women who become associated with the dark forces of evil. This statement informs: “‘Molly Means’ belongs the genre of the ‘Bad Women Folk Ballads,’ concerning itself with the characterization and the actions of its heroine Molly Means. The narrator’s initial portrayal of her is one of an ugly and, by correlation, evil woman” (Ashford). This negative representation of women reflects their low ranks in the society as they struggle to survive under patriarchal structures that subjugate and demonise them. Moreover, the portrayal of Molly as a witch follows a long tradition that connects women with all the evil in the community because of their labels as the fair sex and their supposed inferiority to men. Thus, their low social status combined with their supposed weakness make them scapegoats in a society that cultivates the patriarchal domination of women. Walker’s poem addresses these stereotypes that label women as witches and make them more vulnerable than they already are: The speaker states: “Old Molly means was a hag and a witch; / Chile of the devil, the dark, and sitch. / Her heavy hair hung thick in ropes” (Walker 1-3). This characterisation of Molly expresses how the society views her, and this depiction has much to do with her gender because in male dominated societies, only women are portrayed as witches. Besides, the association between darkness and evil constitutes a racial connotation that Walker foregrounds. Molly has not only the misfortune to be a woman in a society that demonises women but she is also black in a racist society. This double burden of being a woman and black exposes her to a predicament that is very challenging. This critic observes: “As the historical representations of the witch discussed above have revealed, the witch is always figured as ‘Other’. She is female when the cultural norm is male; pagan when it is Christian; foreign when it is homogenous; lesbian when it is heterosexual; magic when it is science and explanation” (Bruton 13). In the poem, Molly represents the other in a patriarchal society that estranges women and in a white society that discriminates against blacks. Therefore, both statuses constitute hindrances that explain Molly’s representation as a witch and evil. Thus, Molly’s difference makes her a pariah in a society that does not tolerate her singularity and profiles her as evil. Not accepted as being just different, Molly is seen as evil and attributed supernatural powers that exemplify her devilish character. Stories about her special features and powers circulate from mouth to mouth and address her evil characteristics: “Some say she was born with a veil on her face / So she could look through unnatural space / Through the future and through the past” (Walker 9-12). These exaggerated descriptions show the view people have about her and how her difference makes her the target of the community that makes her pay for her looks. She becomes the victim of a community that forges tales about her and invigorates itself through the disdain the members feel about her. This assertion reveals: “In addition to all of these duties, the conjure woman in the literary tradition also served as a site of collective memory. In the epic poem ‘Molly Means’ by Margaret Walker, Molly is both a feared conjure woman and the object of the community’s collective mimetic force” (Stanley 152). This depiction of Molly as a conjure woman reflects the supernatural powers attributed to her that may cause fear and isolation from the community but at the same urge people to join their forces in order to fight what they consider evil. In addition, Walker’s representation of Molly goes as far as to materialize her witchcraft through the spell cast on a young woman. This concrete proof of her spiritual practices constitutes some recognition of these special powers deeply rooted in the African American culture. Therefore, Molly’s ability to cast a spell demonstrates that she is endowed with magical secrets that make her different from the rest of the community. The speaker reports: “Then one dark day she put a spell / On a young gal-bride just come to dwell / In the lane just down from Mollys shack” (Walker 25-28). This manifestation of her powers makes her very special but also triggers not only fear but animosity as well. This possibility to harm other members of the community estranges her more from the society because she is perceived as an enemy bound for destruction. This perception isolates her further from the community that sees in her destruction their only means of survival. This critic exposes: “As such, the conjure woman is a coalescing agent for the community; she is one of the things its members have in common that make them a unique cultural entity, and she is further evidence of the multitudinous ways these women functioned in the African American community” (Stanley 152). Molly, therefore, becomes the symbol of unity in the community as they gather their strengths and forget their differences in order to fight and eliminate her. She is perceived as a threat that needs to be handled for the survival of the community. Apart from this representation of Molly as victim of the community’s profiling, Walker seems to magnify Molly’s power through the effect the spell has on the woman. The physical transformation of the woman demonstrates the power of such spiritual practices that can be indeed very harmful. The speaker informs of the terrible impact the spell has on the woman: “And when her husband come riding back / His wife was barking like a dog / And on all fours like a common hog” (Walker 29-31). This horrific image of the transformation of a human being into an animal attests to Molly’s power and the harm she can do to those who singled her out because of her looks. She, therefore, possesses a powerful tool of revenge towards the society that judges her and labels her as evil. Thus, Walker provides Molly with an opportunity to be even with those who associate her gender with witchcraft and her race with evil, but she also acknowledges the existence of these supernatural powers that are part of the African American tradition. This assertion addresses the point: “In her poem, ‘Molly Means,’ Margaret Walker celebrates African American myth and folklore, combining lyrical traditions with narrative ones. Following a format, similar to that of a song, the poem consists of seven individual verses and one, slightly altered refrain” (Richee). This mythical tradition explains the portrayal of Molly and her special powers as a way to own these cultural practices connected to African American culture. However, Molly’s death does not end the nightmare people experience about her powers because she still haunts their nights. Through Molly’s ghost, Walker perpetuates her powers that continue to prevail even after her physical death. This continued presence shows the strength of these spiritual practices that outlive even their owners. The speaker confesses: “Sometimes at night through the shadowy trees / She rides along on a winter breeze. / You can hear her holler and whine and cry” (Walker 50-53). Becoming a ghost renders Molly immortal and makes her presence everlasting in the community that rejected her. Thus, the community cannot be the winner in that situation because she imposes her presence on them regardless of her physical elimination and keeps on implementing her revenge. Margaret Walker’s “Molly Means” conveys a significant message about the representation of women in literature. Thus, the association between women and witchcraft has been known for centuries and reflects their place and role in patriarchal societies in which they struggle to survive. Walker’s depiction of Molly embraces this tradition that labels and profiles women and renders them even more vulnerable and isolated. This connection between womanhood and witchcraft and darkness and evil causes Molly’s plight because she cannot prevail in a patriarchal society that demonises women but she cannot either escape racial profiling in a white dominated society that perceive darkness as evil. Despite Molly’s predicament, Walker also honors the African American tradition that conveys these spiritual practices and their supernatural powers. Works Cited Primary Source Walker, Margaret. “Molly Means.” Secondary Sources: Ashford, Tomeiko. “Performing Community: Margaret Walker’s Use of Poetic ‘Folk Voice.’” Fields Watered with Blood: Critical Essays on Margaret Walker.  Ed. Maryemma Graham. Athens: University of Georgia Press, 2001. Google Books. Web. 30 Apr. 2014. Bruton, Sarah. “Bedlam and Broomsticks: Representations of the Witch in Nineteenth- and Twentieth-Century Women’s Writing.” Diss. Cardiff U, 2006. Cardiff University. Web. 30 Apr. 2014. Martin, Kameelah L. “From Farce to Folk Hero, or a Twentieth Century Revival of the Conjure Woman.” Conjuring Moments in African American Literature: Women, Spirit Work, and Other Such Hoodoo. London: Palgrave Macmillan , 2013. Google Books. Web. 30 Apr. 2014. Richee, Clarissa. “Verbal Effects and Margaret Walkers ‘Molly Means’” Cultural Front 2011. Common Front. Web. 30 Apr. 2014. Stanley, Tarshia L. “The Three Faces in Eve’s Bayou: Recalling the Conjure Woman in Contemporary Black Cinema.” Folklore, Cinema: Popular Film as Vernacular Culture. Eds. Sharon R. Sherman and Mikel J. Koven. Logan: Utah State University Press, 2007. Digital Commons. Web. 30 Apr. 2014.   Read More

This characterisation of Molly expresses how the society views her, and this depiction has much to do with her gender because in male dominated societies, only women are portrayed as witches. Besides, the association between darkness and evil constitutes a racial connotation that Walker foregrounds. Molly has not only the misfortune to be a woman in a society that demonises women but she is also black in a racist society. This double burden of being a woman and black exposes her to a predicament that is very challenging.

This critic observes: “As the historical representations of the witch discussed above have revealed, the witch is always figured as ‘Other’. She is female when the cultural norm is male; pagan when it is Christian; foreign when it is homogenous; lesbian when it is heterosexual; magic when it is science and explanation” (Bruton 13). In the poem, Molly represents the other in a patriarchal society that estranges women and in a white society that discriminates against blacks. Therefore, both statuses constitute hindrances that explain Molly’s representation as a witch and evil.

Thus, Molly’s difference makes her a pariah in a society that does not tolerate her singularity and profiles her as evil. Not accepted as being just different, Molly is seen as evil and attributed supernatural powers that exemplify her devilish character. Stories about her special features and powers circulate from mouth to mouth and address her evil characteristics: “Some say she was born with a veil on her face / So she could look through unnatural space / Through the future and through the past” (Walker 9-12).

These exaggerated descriptions show the view people have about her and how her difference makes her the target of the community that makes her pay for her looks. She becomes the victim of a community that forges tales about her and invigorates itself through the disdain the members feel about her. This assertion reveals: “In addition to all of these duties, the conjure woman in the literary tradition also served as a site of collective memory. In the epic poem ‘Molly Means’ by Margaret Walker, Molly is both a feared conjure woman and the object of the community’s collective mimetic force” (Stanley 152).

This depiction of Molly as a conjure woman reflects the supernatural powers attributed to her that may cause fear and isolation from the community but at the same urge people to join their forces in order to fight what they consider evil. In addition, Walker’s representation of Molly goes as far as to materialize her witchcraft through the spell cast on a young woman. This concrete proof of her spiritual practices constitutes some recognition of these special powers deeply rooted in the African American culture.

Therefore, Molly’s ability to cast a spell demonstrates that she is endowed with magical secrets that make her different from the rest of the community. The speaker reports: “Then one dark day she put a spell / On a young gal-bride just come to dwell / In the lane just down from Mollys shack” (Walker 25-28). This manifestation of her powers makes her very special but also triggers not only fear but animosity as well. This possibility to harm other members of the community estranges her more from the society because she is perceived as an enemy bound for destruction.

This perception isolates her further from the community that sees in her destruction their only means of survival. This critic exposes: “As such, the conjure woman is a coalescing agent for the community; she is one of the things its members have in common that make them a unique cultural entity, and she is further evidence of the multitudinous ways these women functioned in the African American community” (Stanley 152). Molly, therefore, becomes the symbol of unity in the community as they gather their strengths and forget their differences in order to fight and eliminate her.

She is perceived as a threat that needs to be handled for the survival of the community.

Read More