A sentimental item can allow one to tie their memories to it once a moment comes to an end, letting them continuously cherish that memory. The item can range from anything a person wants, depending on them and their experiences; such as, the quilts in the short story "Everyday Use" and the poem "My Mother Pieced my Quilts". Both Teresa Acosta and Alice Walker use imagery and figurative language to establish the quilt as the love and respect for both of their family's heritage. In the poem by Acosta, she uses imagery and figurative language to present the quilt as a symbol for her memories and the mother's love for the family. Acosta was illustrating to the reader how the mother sewed the quilt by hand and stated," galloping along the frayed
In Marilyn Nelson Waniek's "The Century Quilt" there is a diverse and loving home, and a sure symbol of generations of a family and childhood within the blanket. Through warm imagery and reminiscent tone, the measure of this quilt to Waniek's life is illustrated as a profound connection and admiration of her family and a nostalgic escape. The color illuminated imagery draws a relationship between family and love through the quilt. "Six Van Dyke brown squares/ two white ones/ yellow brown of mama's cheeks" The delicate colors remind the poet of her childhood's simplicity, the gentleness of her mother's being, and begins to suggest a mixture of races within her household. "yellow sisters/white family" Wankiek speaks of her two distinct races, the Indian and the white, in an acclaiming manner which once again connects the loveliness of the quilt and how it acts as a catalyst to the influx of memories of a wholesome home that sees no color
Lastly, the speaker uses some hyperboles in this poem to show the importance of a sense of identity and how this shapes our lives. One such hyperbole was “Now I’ve found a quilt I’d like to die under” which shows she’s found her identity and the thing she wants to be defined by (family and heritage.) Another was, “I’d have good dreams for a hundred years under this quilt,” showing her willingness to embrace her identity and be proud of her family and heritage. This shows how much she is attached to her identity and how much she believes in
In the poem “Daystar”, Dove illustrates the daily life of her grandmother who is a mother and a wife. We can relate this to Dove and her grandmother because they are both mother figures in the family and each grow up from different generations. Poet Biography Rita Dove is an African American poet born on August 28,1952 in Akron, Ohio, who is married to a German writer, Fred Viebahn whom she had met in college, and a loving mother to Aviva Dove- Viebahn. (Biography.com Editors, "Rita Dove") Dove was raised in a well
The following is a list of some of the similarities between the teachings in the poem and my parents' teachings. One very big similarity is that both the poems' teachings and my parents' teachings stressed the importance of proper manners. In The Girl
For many, people hold objects within their lives as sentiments of greater value than price. Whether it be pictures, necklaces, or a father’s watch; there lies an emotional connection beyond the object’s materialistic presence in which people hold dear. Themes of reminiscence as well reverence are displayed throughout the poem by the use of imagery to further convey the character’s hope that the quilt will represent her family’s heritage just as her grandmothers did, alongside an ethos application of symbolism that further portrays as well connects the emotional links of generations, diversity, and values. The first theme of reminiscence is displayed by tone as well diction in which the author portrays that the quilt allows the woman to create a feeling of connection to her family 's past as well her own. The quilt allowed the woman to feel as though she could potentially “have good dreams for a hundred years,” as mentioned throughout lines twenty and twenty-one just as her Meema.
“Everyday Use” The story “Everyday Use” by Alice Walker is a story between a mother and her two daughters. The story is mainly about a mother and one of her daughters Dee. The conflict is how they both see the world differently. There is a lot of symbolism in this story because of Dee. In Walker’s writing, redemption will take one away and bring one back, in a perhaps humbling but empowering way, to something close to home.
Mama even discusses the use of “scraps from dresses that Grandma Dee had worn fifty and more years ago” (1193). Each piece of fabric represents the life and struggles of Mama’s ancestors. The quilt is a piece of history passed down from generation to generation, which embodies long lasting memories and legacy. Wangero asked, “Can I have these old quilts” (1193). Mama was not happy about the request and suggested other quilts.
Mama dreams of reconciling with Dee on a television program where she embraces her “with tears in her eyes” (494). Although Mama’s dislike of Dee grows throughout the story, she never tells lies about her. In fact, she tries to make both daughters happy in the end, giving the home-made blankets to Maggie and telling Dee to “take one or two of the others” (499). In addition, the reader gains much insight into Mama’s character when she shares her feelings before snatching the blankets from Wangero: “When I looked at her like that something hit me in the top of my head and ran down to the soles of my feet. Just like when I’m in church and the spirit of God touches me and I get happy and shout” (499).
Each theme had a specific Pell Scholar to talk about the quilts in further detail. All the quilts focus on different stories from child sacrifice in Uganda to war rape in Mali. Barbara Fitzsimmons helped create two of quilts in the room. One of the quilts she made is the Child Protection Quilt, which tells the stories of families who lost their children to human
You ain’t no good now, you lousy tart”(95) Candy then goes on about how he “…could of hoed in the garden and washed dishes for them guys” (96) In this scene, Steinbeck exposes that Curley’s wife actually possessed more power in death rather than in life. In other words, her death revoked the dreams of many characters , including herself. Now candy, Lennie, and George will never have their ideal piece of farm land and Curley’s wife will pursue her dreams of becoming an actress. Unfortunately, Curley’s wife
This, again, ruins the family tradition. Dee was named after her Aunt Dicie, who was named after her mother, Grandma Dee. Dee changed her name to “Wangero Leewanika Kemanjo” and wants to be called “Wangero.” Wangero’s, now, man began to judge her mother and gave her little sister Maggie a hard time. He seemed to be good for the family. When they sat to eat dinner he said he didn’t eat collards and the pork was unclean.
Whereas, Dee believes that her mother’s family heirlooms are to frame on the wall, or display, as a reminder of her family history. She desires the carved dasher and family quilts, but she sees them as artifacts of a lost time, suitable for display but not for actual, practical use. She has set herself outside her own history, rejecting her real heritage in favor of a constructed one. Mama and Maggie, on the other hand, wish to continue using the quilts, and so continually engage with and build upon the family’s history. When Mama gives the quilts to Maggie, she ensures that the family heritage will stay alive in the manner she prefers.