Art and All in Our Mothers Gardens Essay -- Search Our Mothers Garde

Art and All in Our Mothers Gardens Alice Walker uses Virginia Woolfs phrase contrary instincts to describe the creative spirit that her female ancestors revive spirit that her female ancestors hero-worship while working and living in oppressive conditions. Her mother had a difficult life, but she managed to keep her creative spirit alive. She held onto what she could in the simplest ways. Where there was a forget there was a way. Walker explains that her mother, though tired and overworked, did express and feed her creative spirit. She planted incredible gardens, and still does, with various blooming plants. She decorated the house with flowers from the garden. Walker likens her mothers garden to magic. Friends and strangers visited the garden regularly and would ask to stand or walk amongst her mothers art. Her mothers garden represents an undying love of beauty and creation, symbolizing the weave of her creative spirit with natures hand. Envision the roots in the garden wov en together, creating a network of support for the other plants.e other plants. When Alice Walker went in research of her mothers garden it became a journey about uncovering her own true self. Her mother was her strength and her role model. Walker discovered that she found herself while inquisitive for her heritage, and in the process she excavated her authentic self. Imagine bla... ...e of art, you mustiness open yours of art, you must open yourself up to the possibility that you might not like what the artist is exhausting to convey. Its about taking a risk. This is not going to be easy to do. In fact, it will be very hard, but it is a risk we must take. Once you have decided to dismiss something based on first impressions, you are doing yourself a grave disservice. When you decide to take that leap and challenge yourself, you will then understand your truth, without hesitation. Works Cited Walker, Alice. In Search of Our Mothers Gardens. Major Modern Essayists. Seco nd Edition. Ed. Gilbert H. Muller with Alan F. Crooks. Englewood Cliffs Prentice Hall, 1994. 329-337.