Essay about Message of Family Heritage in Alice Walker's "Everyday Use"

     Maggie is illustrated as Dee’s foil. Dee is everything that Maggie cannot be externally. Maggie is implemented into the story to provide a greater emphasis on

Walker use of this situation shows a bigger issue in African Americans families. According to Werlock, the issue is must “African Americans turn their back of their background and traditional family.” According to Cowart, Dee believes she has escaped the ghetto. In her mind, she has the right to act different from her mother and sister because now she is living at a higher standard than they are. Yet with this mindset, she is trapped with them mentally.

In order for the mother to explain the quilts and their origin in such a detailed manner, she had to know a lot about her family?s heritage. When Dee is asking about the butter dash and who made it, Maggie responds with the answer immediately. By Maggie answering so quickly and correctly, it shows Maggie?s knowledge about her family?s heritage, which Dee does not seem to have.

As the two sisters have different appearance and personalities, they have different perspectives on heritage that contrast each other. Walker uses quilts to symbolize the heritage and describes the two girls' view on quilts to show their perspectives on heritage. Maggie thinks of heritage as an attachment to her ancestors. She believes the everyday use of the inherited materials, how much ever value they may retain, will keep her connected to her ancestors. She values the attachment to the ancestors more than the inherited material itself. When she gives up the quilts to Dee, she states, "I can 'member Grandma Dee with the quilts." Dee, on the other hand, thinks of heritage as something that has an extrinsic value, for example its aesthetic value as an antique. She believes that the proper way to accept and preserve her heritage is to not put it into her everyday use but to cherish it only as an accessory. Such an idea is revealed when Dee says, "Maggie can't appreciate these quilts! She'd probably be backward enough to put them to everyday use." When the mother asks Dee what she would do with the quilts, she says, "Hang them" (1177), which shows that Dee thinks of the quilts only as tangible antiques.

     Pride is the theme that seems to separate this family the most. It's having pride versus not having it. Maggie doesn't have it. She does not speak for herself when Dee wants the quilts. She lets mama speak for her. Like a scalded dog, she hides behind Mama when Dee arrives. Mama compares Maggie to a "Lame animal…run over by a car…"(Walker 88). Pride mostly comes from respect and she doesn't get much. Dee maybe has too much pride. This probably comes from "the world not knowing how to say no to her." She has looks and she's what one would describe as

The two sisters, Maggie and Deem have different opinions about their heritage. To Maggie, heritage is everything around her that is involved in her everyday life. Whereas, Dee believes that her mother’s family heirlooms are to frame on the wall, or display, as a reminder of her family history. Maggie proves her knowledge of her heritage while the family is having lunch together. When Dee asks her mama if she can have the churn top and a dasher that was made by Uncle Buddy, Maggie corrected her by saying, “Aunt Dee’s first husband whittled the dash. . . . His name was Henry, but they call him Stash” (Walker 283). Maggie shows that she knows her heritage by knowing the family members name along with personal detail. Additionally, when Dee asks “Can I have these old quilts?” she can not name the family member that made them (Walker 284). Maggie is standing by the door and

Alice Walker’s “Everyday Use” is a short story about the family relationship between a mother and her spoiled daughter. The mother, who is affectionately called “Mama” throughout the story, lives with her younger daughter, Maggie. The older child is Dee, who has not lived at home since she was sent to Augusta to school. She is preoccupied with advancing her social status and acquiring nice things. “Dee wanted nice things. A yellow Organdy dress to wear to her graduation from high school; black pumps to match a green suit…” (Walker,492). The story revolves around Dee’s visit to see Mama and Maggie, an event which obviously does not happen often. Dee only seems to visit the family in order to claim items that Mama has not yet given to her children. As usual, Mama allows Dee to come inside the home and take whatever she wants. Yet, the relationship between Mama and Dee is a complicated one. Others may say that their relationship is strained because Dee burned their first house down. However, there is no direct proof that Dee is responsible for the fire. Their relationship is contentious and uneasy because Dee is very selfish, she wants to advance her life without considering others, mainly Maggie, and she resents that Mama is satisfied with a simple life.

The African heritage plays a major role in the story, “Everyday Use”. Alice Walker emphasizes the meaning of heritage by having Dee come visit her family and contradicting her heritage. As Dee go off to college, she meets new people and finds her a boyfriend, Asalamalakim. Alice Walker adds attention onto Dee’s new name, Wangero, because Dee changes her name, not understanding the true root of her original name. “No, mama,’ she says. ‘Not Dee, Wangero Leewanika Kemanjo!’ ‘What happened to ‘Dee’?’ I wanted to know. ‘She’s dead…” (160). However, Dee truly believes that her heritage lies way back to Africa. The African clothes and name gives an understanding that Dee thinks that she is from Africa and that is where her heritage originally lies. In addition, Mama and Dee have different point of views on what heritage truly is. Mama tells Wangero (Dee) that her name comes from a line of ancestors, yet Wangero believes that her new name has more roots in it. “You know as well as me you were named after your aunt Dicie,’ I said. Dicie is my sister. She named Dee. We

Dee shows that she does not value heritage by changing her name to Wangero. She adopts an African name "Wangero Leewanika Kemanjo" and rejects her identity. She tells her mother that the name Dee is dead and that she "couldn't bear it any longer, being named after the people who oppress me". When Dee does speak of her changed name, "it's as if there is not even a tombstone to make the presence of her absence and it is as if her return seems less a return, she appears a curious visitor who has momentarily stopped off a road which began and ends elsewhere". Through heritage, her name was chosen after her aunt and Grandma Dee.

The behavior of overlooking her sister's, Maggie, and Mama's feelings since her childhood to the present indicates Dee's character as a person who disregards others. Mama ponders that while the house where they used to live burned to the ground; Maggie was burning, her "hair smoking and dress falling off her in little black papery flakes." Although she saw that Maggie needed her sister's aid, Dee stood "off under the sweet gum tree" at a distance (87). Walker reveals that Mama still finds Dee carrying her self-centeredness when she excludes herself from the pictures and "never [took] a shot without making sure the house is included" (89). Dee wants to capture the signs of poverty from her past so that she can show how much success she has gained in spite of being poor to her friends. Dee is so egotistical that she declares her sister is "backward enough to put [the quilts] to everyday use" (91) whereas she considers herself smart and would appreciate the quilts by hanging them. Her coldness and lack of concern make

Dee?s character in the story is a direct relation to any number of people in society that do not know or are confused about their heritage. She is struggling to create an identity for herself, and is confused as to what it encompasses. She grasps at African tradition and culture, yet fails to acknowledge her own African American culture. This happened all over America, particularly in the North, in the 1960?s, following the civil rights movement. Dee is misconstruing her heritage as material goods, as opposed to her ancestor?s habits and way of life. This may be due in part to her leaving her hometown and becoming an educated, sophisticated young woman. Dee?s direct heritage is that of African Americans.

In the short story“Everyday Use”, the character Dee has made a cultural transformation from her African-American culture to a more African culture. For example, when her mother calls her name, she responds with, "Not 'Dee,' Wangero Leewanika Kemanjo [...] I [can’t be] named after the people who oppress me." In actuality, her mother named her after her grandmother Dee. This story’s setting is during a time that is of a lower degree than the 1800s slavery era. Dee arrives at her mother’s house with a different cultural clothing clothing as evidenced by her mother’s description,“A dress down to the ground, in this hot weather. A dress so loud it hurts my eyes. There are yellows and oranges enough to throw back the light of the sun [...]. Earrings gold, too, and hanging down to her shoulders. Bracelets dangling and making noises when she moves her arm up to shake the folds of the dress out of her armpits.” Dee is not a true African person she is African-American. Discovering Bristol explains, “[A] culture, formed by Africans in the Americas, was a mix of the cultures and beliefs of the different ethnic groups, sometimes adding in European and Christian ideas.” Her African roots were removed when generations and generations before her were coerced to assimilate into a more African-American culture by the enforcement of slavery. The quilts are a true meaning of African-American culture, not African culture.

Interestingly enough, Maggie knows exactly whom in her family made the items that Dee is claiming for house decorations. She informs Dee that, "Aunt Dee 's first husband whittled that dash…His name was Henry, but they called him Stash" (412). The girls' mother comments earlier in the story that "[Maggie] knows she's not bright. Like good looks and money, quickness passed her by" (409). However, unlike her older sister, she understands her family heritage and the importance of it in her life.

When Dee comes back to visit her family she makes herself an outcast. Dee greets her family with a language that they are not familiar with. She wants things from her “past” life to decorate her house with. Dee distances herself further by changing her name. Dee believes that her name is a way of tying her self to the “people who oppress” her (2440) instead of thinking about her family’s history with that name. She claims that Dee is dead and her new name was Wangero Leewanika Kemanjo. Dee’s beliefs are also shallow. Her and her boyfriend Hakim-a-barber are supposed to be Muslim but when mama makes food with pork she gobbles it down.

When the climactic scene occurs and Dee asks “Can I have these quilts?” (145), Maggie’s first implied reaction is one of surprise and anger; “I heard something fall in the kitchen, and a minute later the kitchen door slammed” (145). But as someone “never used to winning anything, or having anything reserved for her” (146), Maggie succumbs and offers to let Dee have them. Although “Maggie knows how to quilt” (146), she is able to comprehend the deeper personal value of the quilts, and states that she “can ‘member Grandma Dee without the quilts”(146). Despite their value as an item of everyday use, the quilts are meaningful to Maggie, much in the way they are to her mother who remembers having quilted them with Big Dee. The scraps, the bits and pieces and “one teeny faded blue piece, about the size of a penny matchbox, that was from Great Grandpa Ezra’s uniform that he wore in the Civil War.” (145) hold deep significance to Maggie.