Irony has been utilized in the story to enhance understanding of the text. Unlike Dee, Maggie will be the one to inherit that position from Mama. Even Mama gives Dee the benefit of the doubt at first. While Dee is intelligent and driven, we get the clear sense that her accomplishments have come at the expense of her mother and little sister. History and heritage play a key role in the development and conclusion of this rather intriguing story. She introduces her two daughters, Dee and Maggie. Mama Mama, the narrator of the story, is big boned, stronger than most men, and mild tempered.
Solutions are not always easy, especially when they are right. Important note: she also refers to herself as colored. They carried out all work in the true traditional ways, rather than adopting modern ways. But rather than looking smart, she mostly just ends up looking like a jerk. Therefore, the author of Everyday Use, Alice Walker has used heritage to describe conflict in family relationships. Finally we see that even Mama has a breaking point. She had studied and had been able to carve herself a place in the new-age society.
She is loving, forgiving, and frank. Walker utilizes the word in the story. No, not that kind of fantasy. For Maggie, the quilts are reminders of specific people, not of some abstract notion of heritage. Both Mama and Maggie are objectified and exploited in these photos, like actors in costume at some living tourist museum. But the story is also about a much more basic conflict: good old-fashioned sibling rivalry. Mama, however, has had enough of this emotional bludgeoning, and tells Wangero to take two other quilts not intended for Maggie and leave.
She wanted nice things and stylish clothes. But Maggie can continue traditions into the future by putting these humble objects to everyday use. Dee shows her anger towards this immediate past in her happiness when their house burned, her readiness to leave her home behind when she went to college, and her lack of interest in learning family skills like sewing. During this time, many blacks sought to establish themselves as a visible and unified group and take control of how their group was named. In fact, there were a lot of small sinks; you could see where thumbs and fingers had sunk into the wood.
Mama remembers how Dee willed herself to be different from her rural neighbors with her book smarts and by having a style all her own. Meanwhile, the narrator, Mama, also gives hints about herself as a hardworking, humble woman, who took the lead role of parenting her daughters in the absence of her husband. The mother informs Dee that she has already promised the quilts to Maggie. Mama and Maggie have no higher education or knowledge of Africa, but they do appreciate their more immediate roots: their house, their family heirlooms, their traditions. Dee asks her mother for the quilts. For one, education can empower people financially and therefore materially.
She is also intending to take these along with her, to which her mother gives no consent. She emerges as a new Afro-American, who believes that she has freed herself completely from the oppressive shackles of slavery. Dee coaxes her mother to give her those, in a gesture that she already owns them. Whereas Mama is sheepish about the thought of looking a white man in the eye, Dee is more assertive. When Dee contends at the end of the story that Mama and Maggie do not understand their heritage, Walker intends the remark to be ironic: clearly, it is Dee herself who does not understand her heritage. Dee used her education as a weapon to wield against her own family.
The Black Panthers and Black Muslims were groups created to resist what they saw as a white-dominated society. Dee has reinvented herself as Wangero, and wears a bright African dress that Mama dislikes at first. When Mama offers Dee the newer, machine-stitched quilts, Dee clearly does not think they are as valuable. Mama then dismisses her fantasy as unrealistic, because she believes she is not the kind of person who would appear on such a show. In this paper I will analyze and compare a literary text and an everyday text, in terms of their creativity and literariness. As Mama explains, Dee and Hakim-a-barber communicate via eye contact. Dee cannot leave without adding insult to injury.
Maggie suffers from a strange inferiority complex, perhaps because she had suffered in a fire which left her scarred in the arms. Dee, on the other hand, could make eye contact with anyone. Dee and Hakim-a-barber seem to be taking part in a tradition of African-Americans returning to their African roots in an attempt to circumvent the history of white violence against black people. Pressed us to her with the serious way she read, to shove us away at just the moment, like dimwits, we seemed about to understand. GradeSaver, 28 August 2014 Web.
Mama describes her as a lame dog. She is loving, forgiving, independent and frank. She is selfish and vain. Indeed, she never even tells us her name; her identity is comprised of a hard life of experience and her position as head of her matriarchal family. Her memories of Dee growing up help give us perspective on the self-absorbed patronizing young woman who will soon blow through her house. However, they do not have higher knowledge or education concerning African traditions. She has always shuffled around in the shadows of her garish big sister, Dee.
She refuses to stay with her mother and opt to stay alone. Maggie Maggie is Mama's skittish younger daughter. Education has enabled to Dee to gain social and spiritual transformation. But was her education shallow? Dee uses her education to make Mama and Maggie feel less important without, necessarily meaning to. Throughout their literary works these problems help built the story. According to Dee, such artifacts do not symbolize oppression since they are aesthetic objects.