Dee’s way of valuing the objects is contrasted to that of her mother and Maggie’s. She is horrified at the idea of her sister employing the quilts for “everyday use”; “Maggie would put them on the bed and in five years they’d be in rags” (Walker, 320). This shows Maggie and her mother’s immodesty in their humble house in stark contrast to Dee’s ferocious Materialism. Maggie further intensifies this contrast by stating she did not require the quilts in order for her memories of Grandma Dee to remain intact; “I can ‘member Grandma Dee without the quilts”(Walker,
The authors, Alice Walker and Toni Morrison, demonstrates how two women growing up together can lead to different point of views. In both stories, there is a woman – Sula in “Sula” and Dee in “Everyday Use” – returning home to find things the way they left them. Sula and Dee’s lives are considered very unconventional in comparison to their towns and families. In the case of Dee, she changed her name because, “I [She] couldn't bear it any longer, being named after people who oppress me." (Walker 1191) However, Sula follows a wildly divergent path and lives a life of fierce independence and total disregard for social conventions.
In the story “Everyday Use” by Alice Walker, a change in her daughter, Dee, causes Mama to grow a new appreciation for her often overshadowed daughter, Maggie. While Dee has returned to her home more educated, she has become ignorant to who she really is, causing a change in the attitudes of the characters towards each other. The new background that Dee has created for herself presents a sense of irony as her rise in education has resulted in her loss of knowledge about the world that she grew up in. After Mama refuses to allow Dee to take her grandmother’s old quilts because she promised them to Maggie, Dee claims that “Maggie can’t appreciate these quilts... She’d probably be backward enough to put them to everyday use” (926). From the
“..”She’d probably be backward enough to put them to everyday use” (Walker 6). This quote clearly shows, there is a competition between sisters for their mother’s love and who will get the quilts. What Walker really means is that Dee see these quilts as a symbol of materialism and there are not quilts for everyday use but to exhibit in someone’s home as a decoration. Another conflict in the story is when Mama confronts her daughter Dee and tells her
Immediacy is when you bring someone into direct and instant involvement or giving a rise to a sense of urgency or excitment. Basically when you bring a side charater, such as momma, and bring them into the direct spotlight focasing them for a short period of time. the example of immediacy in this excerpt is momma. They siblings bring her in the direct spotlight by stating that she issued orders to them, pushing her large feet into homemade slippers and walking across the floor to oil the lamp. Their is no sense of urgency or excitment in this excerpt.
In this novel, Everyday Use by Alice Walker, Mama decides that she will wait in the yard for her daughter Dee’s arrival. Mama knows that her other daughter, Maggie will be nervous throughout Dee’s stay, self-conscious of her scars and burn marks and jealous of Dee’s much easier life. Maggie, the daughter at home, is shy and scared and remains by her mother's side as an obedient shadow. Her motherwhile she is not physically attractive or stylish.Dee, on the other hand is as being light skinned, and with very nice hair.By holding these quilts from Dee, Mama Johnson decides that Maggie’s practical approach to heritage is better than Dee’s superficial, impersonal concept of her new heritage. Dee and Maggie, the two sisters who want the handmade
Dee doesn’t truly know what her culture represents, but instead she tries to use everything from college to apply to everyday life. Dee never appreciated her roots as a child, and she still don’t. Mama and Maggie used the churnand dasher daily with care, and all Dee wants to do with the churn and dasher is “think of something artistic to do with it” ( Walker 273.) She sees the churn as a project she can work on; on the other hand Mama and Maggie see it as a churn with a lot of meaning behind it. Maggie and Mama cherish the handmade quilts that were made by Grandma Dee.
This essay will explore these contrasts and shed further light on Lorde’s beacon of motherhood. While there are many ways to interpret Lorde’s work my point of view on her works comes from a knowledge of almost motherhood. Although Lorde persevered through an illegal abortion her view on motherhood, in her poem and in written works, remains clear and unsoiled. Simply from the first stanza I feel connected to Lorde on a level that only mothers can know. Though my view is skewed as my baby was never born.
Sylvia is resistant to and has a predetermined negative opinion of Miss Moore. Cartwright points out how the first sentence of the story reveals the irreconcilable differences between Miss Moore and Sylvia: "Back in the days when everyone was old and stupid or young and foolish and me and Sugar were the only ones just right, this lady moves on our block with nappy hair and proper speech an no makeup" (508). Her resistance to Miss Moore is further clarified when she refers to how "school suppose to let up in the summer" but Miss Moore "don't never let up" (Bambara 170). Sylvia goes on to use strong words when she describes how she "hates" Miss Moore and her "college degree" (170). This leaves readers wondering whether Sylvia will be accepting of what Miss Moore has to teach her.
However, Lorde firmly disagrees with this ‘silent’ attitude and throughout her life she spoke out and refused to stay silent, therefore Maureen Mahoney claims that; “The strength and resistance of Lorde’s own adult voice was no doubt fed by these paradoxes of power and powerlessness, experienced acutely and personally, in a delicately negotiated balance between words and silence” (621). It could be argued that Audre Lorde learned how to find her voice from her sister Helen; “I had finally found out what my sisters did at home at night […], they told each other stories” and “I thought that the very idea of telling stories and not getting whipped for telling untrue was the most marvellous thing I could think of” (Lorde 46). Additionally, Helen is the first out of three women to whom Zami: A New Spelling of My Name is dedicated, and Barbara DiBernard states that; “Lorde’s identity as Zami, a black lesbian poet, is formed through her relationships with other women” (199). Another woman important for breaking Lorde’s silence is Gennie, their connection is crucial in sustaining Lorde as a female writer; “Gennie’s suicide affected Lorde profoundly and has been a major impetus for much of her work” (DiBernard 200). First of all, a poem for Gennie is encountered in Zami: A New Spelling of My Name which Lorde wrote after her suicide.