These letters are primarily concerned with Celie's emotional, physical, and geographical isolation and now — because of Shug Avery — these letters focus on Celie's "awakening" from her isolation. This awakening first begins in Harpo's jukejoint. Shug is so grateful that Celie has nursed her back to health that she sings "Miss Celie's Song" to her, and Celie's heart immediately begins to cramp. In other words, Celie's heart begins to come to life again. No one has ever done anything so special for Celie since years ago, when Celie and Nettie were children.
Since then, Celie has been isolated from the external world. The word "plantation" (on Harpo's handbills) appears for the first time in the novel; Celie has been living on a plantation all her life and doesn't even know it. Likewise, she has never heard of the diva of the blues, Bessie Smith. There is no radio or record player in Albert's house, and he doesn't allow Celie to go out to nightclubs. There is irony in the fact that Harpo sought to isolate himself even farther from the police by "secluding" his jukejoint off the road, because it is in this calculated seclusion that Celie begins to discover that she is of value — to herself and to Shug Avery. Shug's song affirms that Celie has worth, and this truth is almost more than Celie can believe.
One might think that Shug would dedicate her song to Mr._______ , to Albert, since he was the one who came and got her and arranged for her to be nursed back to life, but Shug doesn't do the "expected." She gives credit where it is due — to Celie. Shug is an intense, soulful woman full of fire and candor, and she knows whom to appreciate. Once more, Harpo is puzzled. He realizes that Shug does what she wants to do and that she "forgit about polite."
