Mama I Ll Give You The World

Is a mothers conditional love ever fully appreciated? The song “Dear Mama” by Tupac and the poem “Mother To Son” by Langston Hughes both proclaim how growing up, people don not fully appreciate their mothers. They do not acknowledge what they went through to raise them and give them the necessities of life. These two pieces express how you have to be at your worse to cherish the best.

Mama has to sell her china because it is too big to fit in Woody’s car. When a secondhand dealer offers only fifteen dollars for the china, she feels offended and insulted, and she angrily smashes the entire set in front of him.

In this book Mama plays a very important role. She is the head of the house and has a major part in what people can and cannot do. She has the

Mothers are pictured as the care giver of the families and the ones who love their children unconditionally no matter the situation. They’ll do anything to support their family and raise their children right. In “The Queen of Mold” by Ruth Reichl, the mother in the story is pictured as the one who makes a meal almost out of nothing, just to provide and have something on the table for her family. Even though the food she cooks is moldy, this is how she demonstrates her motherly love.. In “Everyday Use” by Alice Walker, the mother is portrayed at first as an over excited mother waiting for her over achieving daughter Dee. As the story progresses the excitement for the daughter starts to go away and her motherly love towards Dee becomes complicated because Dee thinks she is greater and much smarter than the rest. Both of the stories depict complex motherhood, in Reichl story her mother’s love becomes complicated when she cooks food for the guest and her daughter tries to save the guest from being killed, while by the end of Walker story she only has love for the one daughter that has always been by her side and that’s Maggie.

Choose one of the main lwa discussed by Karen McCarthy Brown and discuss its Vodou theology – that is, its sacred persona, mythic biography, special powers, specific characteristics, ritual practice, and so forth. Situate this lwa in relation to his or her Black Atlantic history in Haiti and beyond. In what ways does the imagery associated with this lwa reflect the confluence of both history and mythology – in other words, what is this law’s mythistory? Then examine the place of this lwa within Mama Lola’s religious practice: what role does it play in her life? How does she relate to and serve this lwa? Has the role of the lwa changed in her experience over time, and if so, how?

A mother’s words are the ones that ring loudest in a child’s ear, are passed down from generation to generation, and the one’s that hold a special place in a child’s memory and heart forever. Expectations and guidelines are set at a young age. Morals and values are learned throughout the years, and life lessons are taught through the wisdom passed down from a mother to a daughter. Every mother has a wish for their daughter to be the best they can be. But at what point does instruction and wisdom become simply words that have been said one too many times? The short story “Girl,” written by Jamaica Kincaid is presented to the reader as a list of instructions from a mother to a daughter on how to live life to the

The disparity of the outward imageries by Mama is a small manifestation of her cloaked animosity and resentment as compared to her hyperbolic soliloquies. Even in her dreams she says Dee wants her to be “a hundred pounds lighter, [her] skin like an uncooked barley pancake; [her] hair [glistening] in the hot bright lights” (60). Mama refers to Dee being embarrassed and ashamed of her mother’s appearance. Mama indicates that she can never be what Dee wants her to be in stating “Who ever knew a Johnson with a quick tongue” (60); rhetoric corroborated by Mama’s admission that she “never had an education [herself]. After second grade the school was closed down” (61). However, Mama shunned Dee’s quick tongue, acquired from her education; Mama recalls “[Dee] used to read to [them] without

The poem “Mother Who Gave Me Life”, written by Gwen Harwood explores the extremely personal relationship between a daughter and her mother. It focus’ on the universal role of women as mothers and nurturers throughout time. It explores the intimate moments and memories between a daughter and her mother, and gives us as the reader an insight into the relationship between the two.

Mama has insecurities about herself that give her a negative outlook on the world around her. Mama describes herself as being a “large, big-boned woman with rough, man-working hands” (p.315). She thinks her daughters will appreciate her more if she was “a hundred pounds lighter, skin like an uncooked barley pancake, and hair that glistens in hot bright lights” (p.315). She has

Mama concerns herself only with the fact that she and her family will own the house, and not have to dwell in the tired, old apartment on Chicago's Southside. In a sense, Mama's dream has "crust[ed] and sugar[ed] over like a sugary sweet" (Hughes Lines 7-8). Her dream has changed to fit the circumstances she must cope with. The character of Mama represents those who do not shrivel up and die just because their dream does.

     What a loving mother! Lena Younger, or Mama, is nurturing and supportive when it comes to raising and maintaining a family. Personally speaking, being nurturing means to love, care for, and show concern over someone. Analyzing Mama’s relationships with family members can show us her view on parenting and ultimately show us her devotion to her family. In A Raisin in the Sun, by Lorraine Hansberry, Mama is a nurturing mother who cares for and protects her family in her struggle to keep them unified.

The character of Mama in the short story “Everyday Use” by Alice Walker endures through intense times and takes advantage of what she has. She is a lady that tells things how they are, only plain truth. She can be entertaining now and again and intense at others. She is self-portrayed as “a large, huge boned, women with rough, man-working

She is an important character that is viewed as a significant figure. Mama’s behavior through the plays shows that women could play the role of being a man. She conducts the house to her satisfaction. When Beneatha says, “There simply is no blasted God—there is only man and it is he who makes miracles!” (51). Mama reacts by slapping her across the face to show her that this is her house and that she is in control. Not only did Mama control her family’s actions in her house, but she also controlled any guests’ actions in her household. Mama was the controller of the house and the whole neighborhood knew about it. Mrs. Johnson even reminded herself of Mama’s control by saying to Mama, “Oh I always forgets you don’t know ‘low that word in your house” (101). Mama illuminates her status of being woman with not only her control but also her attitude and her dreams.

This speaks on a very deep level, in regards to the genuine warmth the author implied toward the mother in his piece. There is a subliminal truth of sentimental “value”, because the reality of this world is that all material wealth can be lost in a moment, but real wealth is not some slice of pie one luckily stumbles upon in the world, real wealth is first found in the human being, and the human becomes the reflective producer of these

David Michael Kaplan Another postcard from you today, Mother, and I see by the blurred postmark that you're in Manning, North Dakota now and that you've dated the card 1961. In your last card you were in Nebraska, and it was 1962; you've lost some time, I see. I was a little girl, nine years old, in 1961. You'd left my father and me only two years before. Four months after leaving, you sent me—always me, never him—your first postcard, of a turnpike in the Midwest, postmarked Enid, Oklahoma. You called me "My little angel" and said that the sunflowers by the side of the road were tall and very pretty. You signed it, as you always have, "Your only mother." My father thought, of course, that you were in Enid, and he