Mainely Needlepointer's 'Thread And Gone'

The first clue that the woman find is the errant quilt patch. While going through Mrs. Wright's house they find a quilt, and on closer examination notice one quilt patch off from the rest. Mrs. Peters states, ““The sewing, All the rest of them have been so nice and even—but—this one. Why, it looks as if she didn’t know what she

Wright’s, or Minnie’s, sewing pieces, there is a piece that is not clean and well done like the rest. Mrs Hale started fixing it and Mrs. Peters did not think that was a good idea, “A moment Mrs. Hale sat her hands folded over that sewing which was so unlike all the rest of the sewing. Then she had pulled a knot and drawn the threads. “Oh, what are you doing, Mrs. Hale?” asked the sheriff’s wife, startled. “Just pulling out a stitch or two that’s not sewed very good,” said Mrs. Hale mildly.” Mrs. Hale fixed the piece, because it would show anger, or a sudden change in mood. She understands why Minnie killed her husband, and she does not think Minnie deserves to be punished for it. She was able to finally escape her terrible husband. While working on this piece, she was contemplating on killing her husband. She was sewing to relax and calm down, but then she started thinking about why she should kill her husband and her work got sloppy and

Mayella is powerful because of her class, race, and gender. Mayella is a white female who lives with her father, Bob Ewell. This story takes place in Maycomb, Alabama, in the 1930’s. Mayella is trying to get out of the situation with her sexually abusive father and sets up a plan and accuses a negro man named Tom Robinson of raping her and her dad catches them.

In the story, a family heirloom becomes a conflict because while Dee wants to take the quilt to decorate her home, Maggie would make better use of the quilts by using them instead of framing them. This quilt that has been passed down from generation to generation, is symbolic of the love that both the older generations and the present generation has for each other. The quilt also symbolizes the strength of the family and the stitching is symbolic of the bonds that hold a family together. Mama ultimately decides that the quilt will go to Maggie because Dee does not understand the practicality of the quilt which is that they were from pieces of clothes that were lived in, which represented their past. Alice Walker was also emphasizing that it is the woman in the family that have held and currently hold families together by depicting closeness of the female relationships.

“It was early afternoon and me and the guys were playing horseshoes outside of the bunk house. We were just finishing our game up when Candy ran towards me from the barn looking worried. He brought me into the barn and pointed down at a lump underneath the hay. A closer glance revealed Curley’s wife lay dead on the ground. That tart lay lifeless in front of me and I only knew one person who could be behind it.

One of the perspectives employed by Porter is seen through Granny’s thoughts, which are preoccupied by her jilting and “the thought of him [the man who jilted her]… that moved and crept in her head” (5) that when her death came she still “wanted to give Cornelia the amethyst set…[and] to do something about the Forty Acres” (8).

Wright explains that someone must have come in, in the middle of the and slipped a rope around her husband’s neck while she was asleep next to him, she states, “I sleep sound.” Mrs. Wright didn’t seem concerned never moving from her rocker, she kept rocking and pleating the apron. The men searched the kitchen which appeared unkept and found only kitchen items, nothing out of the ordinary. Her neighbor Mrs. Hale came in and said that she hadn’t been in the house in years, she states “It hasn’t been a cheerful place” (561). Mrs. Wright is now being accused of murdering her husband and her only concern was her preserves, the county attorney sates, “Held for murder and worryin’ about her preserves” (561). The ladies that was in the Wright house was discussing how Mrs. Wright used to be, dressed up in pretty clothes, was lively and confident, she lost that over the years and now “She didn’t even belong to the Ladies Aid” (562). They guessed she couldn’t do her part and felt shabby, so she kept to herself. The ladies thought she killed her husband and practically convicted her right there in her kitchen. The women are constantly worrying over Trifles, or something that is totally unimportant. After Mrs. Wright is arrested for the murder of her husband the two ladies take Mrs. Wright quilt to the jail to keep her

The final stage in Janie’s development as a woman is her marriage with the twelve years younger Tea Cake. Both are totally in love with each other and Janie lives a live she has never lived before. She experienced a big change when she moves from her formal live as “Mrs. Major” (43) in Eatonville to the Everglades where Tea Cakes teaches her how to farm, fish and hunt and introduces a totally new rural life to her. Janie described her lifestyle in these days with "...we ain't got nothin' tuh do but do our work and come home and love" (127).

The conflict between the personalities and lifestyles of the narrator’s two daughters is especially noticeable in their valuation of the quilts. To Wangero, the quilts, as well as the butter churn and bench, are aesthetic and historical in their value. She and her husband are celebrating their people’s heritage, and in doing this Wangero finds the possessions of her family to fit her artistic ideal. Having left home for a broader

“I can ‘member Grandma Dee without the quilts” is what Maggie says to her sister, which shows Maggie’s value of family. Both critics believe the ongoing tradition of quilting must be represented through the generations of quilting and the background history or it all. Where the quilt came from is the most important value. The quilts contains passed down stories whereas they form a link between the generations (Weidmann 260).

She was so weary from the traveling and what she had been going through. She silently watched what was going on in her new surroundings. Other Indians came in through the outside door, said something to Mahonoy in a very respectful manner, and then disappeared to another part of the longhouse. Amelia was beginning to understand that the longhouse was a place several people lived in, with rooms separated by partitions. It was late, and Mahonoy raked coals together in the fire for the night and cleaned up her cooking area. Amelia watched her work and looked closer at the middle-aged woman's attire. She had a soft leather skirt on that came halfway to her ankles. It appeared not to be tight or hard to move in, although it was made of thin leather. The hem of it was cut all around into narrow fringe that hung around her ankles like tassels. On her body she wore a loose fitting tunic that came down over the top of the skirt. It was made of the same type of leather skin. The tunic had no sleeves to it and the neckline at the top was just an opening cut straight across for the head to go through. It had fringe along the bottom of the tunic also. The waist was cinched in by a belt tied into a knot. She wore a small decorated pouch on a long leather thong around her neck that hung down like a pendant. Her hair had been black but now was streaked with grey, straight and long. She had a fabric headband tied around her forehead with some geometric decorations and feathers tied on it that hung down by the side of her head. On her feet were moccasins that had tops coming halfway up to her knees. Amelia thought she recognized silver coins with holes drilled in them, sewn onto the moccasins as decorations along with some colorful beads. Mahonoy's hands were the hands of a woman who has done hard work. Her fingers were broad and had knarled knuckles and short, nails. Once in awhile when she moved to lift something Amelia heard a

     Nathaniel Hawthorne’s The Scarlet Letter, a dark tale of sin and redemption,centers around the small Puritan community of Boston during the 17th century. In the midst of this small community is Hester Prynne. She is a woman that has defied the Puritans, taken the consequences and in the end conformed with the Puritans. It did,

She moves into a new home with her husband, John. She describes the new home as a “colonial mansion, a hereditary estate, I would say a haunted house” (Gilman). Her description of the home is a negative feeling she has towards the house. The description of the home being haunted shows her terror because she sees it as an imprisonment. In this home, there is a yellow wallpaper in the room she is staying in. She describes the wallpaper, as “the color is repellent, almost revolting; a shouldering unclean yellow” (Gilman). In this wallpaper, she tries to see the figure out the patterns and comes to find a woman. In comes to conclusion that she is living life like the woman in the wallpaper. In the statement, “And she is all the time trying to climb through. But nobody can climb through that pattern, it strangles so; I think that is why it has so many heads” (Gilman). She empathizes with the woman in the wallpaper because they are both in pattern that they cannot break through. The pattern being in a home that feels that haunted and with a man that watches every move and empowers her through her

She wants to take some quilts that were quilted by her grandmother and hang them up. Mrs. Johnson has already promised the quilts to her youngest daughter Maggie. Wangero says Maggie would be “backwards enough to put them to everyday use”. She says it as if putting something to everyday use diminishes its

The men 's inability to see the facts of the situation is emphasized by Mrs. Hale and Mrs. Peter’s ability to deduce the discouraging course of Minnie 's life over the previous 20 years. In addition, although the male characters see no relevant clues in the kitchen, the women, once alone, notice evidence in the mere state of the kitchen: All is amiss--the lid is off the sugar canister and a half-full bag is sitting next to it; there is a dish towel in the middle of the half-wiped kitchen table; and the squares for the quilt she is piecing consist of fine, even sewing -except for one block, in which the sewing is crazy. “What made this woman, they wonder, leave things half-done? What made her nervous enough to make her sewing "crazy"? What so distracted this woman, who even in jail worried about her preserves and wanted an apron?” (Bendel-Simso) Only women, and only women of similar social and geographical backgrounds, can recognize these clues. Foreshadowing of this evidence is given in the opening paragraph of the story, in which Mrs. Hale 's eye makes a scandalized sweep of her kitchen as she is forced to abandon her bread-making half-done when she is unexpectedly called to the crime scene.