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28 pages 56 minutes read

The Flowers

Fiction | Short Story | Adult | Published in 1973

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Symbols & Motifs

Flowers

Flowers symbolize Myop’s childhood innocence, and the carrying and relinquishing of flowers is a motif representing Myop’s coming of age.

The blue flowers with velvety ridges symbolize the burgeoning strangeness of Myop’s environment as she moves further away from the familiar territory of her family home. The color blue is so striking in its beauty that it bears mention in the armful of various other plants that she collects. This color is not often found in nature. The presence of so many blue flowers foreshadows Myop’s encounter with the unnatural sight of the hanged man.

The sweetsuds bush is given a colloquial name that evinces Myop’s familiarity with her environment. The fact, however, that the fragrant buds are plucked too soon underscores the wastefulness of racial violence and the sudden reckoning that accompanies the loss of childhood innocence.

The Pink Rose

The wild pink rose startles not just because of its juxtaposition with the decapitated head of the hanged man but also because of its singularity: the specificity of its color and the fact that it stands alone in the dirt. Myop is attracted to its beauty, but she is soon acquainted with the violent symbol at its root, the noose, which repulses her and turns her delight at seeing the rose to unease. The pink rose symbolizes reclamation and redemption. Walker suggests that there can be a positive recourse to racism if action is taken. Myop’s compassionate burial rite—laying down the flower—signifies her awareness of racism and its subsequent dangers.

The Woods

The woods symbolize reality and encompass both beauty and cruelty. Myop deviates from her mother’s path to explore on her own, an indication of her burgeoning independence. Her joyful exploration leads her from the security of her family cabin to a foreboding, “damp” cove. In lieu of song, the woody cove offers only unnatural silence. The mood of the story changes once Myop enters the unfamiliar woods and foreshadows the discovery of the hanged man. The woods facilitate Myop’s coming of age.

The Noose

The syntax in the description of the noose mimes Myop’s delayed apprehension of what the object is. The “raised mound” becomes a “ring” that, in this image, is affixed to the rose by the root. Long, winding sentences downplay the power of this used object, which served its purpose in its time. The noose is described as a mere remnant of what it once was, “a bit of shredding plowline” (Paragraph 8). In this way, the use of the word “benignly” to refer to it is both ironic and earnest. Its other half is “barely there” (Paragraph 8); Walker offsets the words in em-dashes to emphasize its overbearing presence and lingering effect on the viewer. This piece of the noose is personified as “restless” as it spins at the mercy of the breeze. The uselessness of the object in the present moment invites Myop herself to imagine when the object had last been useful—to hang the dead man before her. Myop will carry this real and imagined scene into her adult life.

Eyes

Walker writes that Myop lodges her foot not in the dead man’s mouth but in his eyes. The action is strange enough that it can read as metaphor: Because she walks in blindness, not looking where she is going or looking “vaguely” for dangers that may be hiding in the brush (Paragraph 4), she happens upon an eye-opening scene. In it, she recognizes what must have been the last moments of this man’s life. Her fascination with his figure at the outset resembles her fascination with the blue flowers she finds in the woods. In taking a second look that accounts for the spectacle before her, Myop enters into a fuller awareness of the ill that befell the man and comprehends that such evils can be powerful enough to end life. What Myop sees in the woods changes her outlook, and she likewise lays down the flowers that represent her youthful optimism.

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