Essay on The House is on Fire

     Dee is portrayed as a light-skinned black person who feels as though she is better than everyone else because her waist is small, her skin is light, she has a nice grade of

Dee is a flat character, who is described as arrogant and selfish. Through the eyes of Dee, one can see her egotistical nature. Dee is portrayed as a light-skinned black person who feels as though she is better than everyone else because her waist is small, her skin is light, she has a nice grade of hair, and she is somewhat educated. Although she may be

Dee sets impossible standards for her mother, causing Mama to feel inferior. Dee forces Mama to be the way Dee would

Dee is a controlling person who always wanted everything to herself only and don't want anybody to take something more than her. And that appeared when mama said that the quilts which were handmade by their grandma Dee, that she would give it to Maggie, Dee was very angry for that and she wanted to take the quilts herself not because she wanted, just because she don't like anybody to take something more than her and wants everything for herself only. Dee was well educated and didn't liked her mother's and sister's way of living so she traveled and when

Dee on the other hand, represents more of a modern, complex, materialistic way of life. She moves to the city to become educated. She is ashamed of where she comes from. In a letter mama receives, Dee writes “no matter where we ‘choose’ to live, she will manage to come see us” (Walker 281). Furthermore, when she comes home to visit she tells mama that she has changed her name to Wangero Leewanika Kemanjo because “I couldn’t bear it any longer, being named after the people who oppress me” (Walker 282).

Mama decided to keep her word and give the quilts to Maggie because she understood what these quilts meant, “ You will not understand. The point is these quilts, these quilts!” The representation of the quilts is the symbol of the family and Dee couldn’t understand it, even with her education. Mama had more life experience and understanding of her culture then Dee would ever learn in a

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

That Dee "never takes a shot without making sure the house is included" (412 ) implies that she wants to be able to capture her family and former life on film. Walker conveys Dee's strong need to have roots, even if those roots seemed beneath her newfound status. Her mother is surprised because she remembers that Dee hated the old house and was glad when it burned. The reader is left with the impression that Dee is struggling with who she is and where she came from. It is as though she has broken free from the shackles of her poor past and needs the pictures as proof of her freedom. Dee's main goal  is to show how far she has come from her roots.

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.

Dee is already claiming the quilts to herself, even though Mama has never said "yes" that she could have them. Dee challenges Mama's authority by grasping the quilts and moving back as her mother tries to touch them. By doing this, she also disregards Mama's free will to give the quilts to whomever she would like. Mama observes that if Dee cannot preserve the unity of the family by honoring her mother, then how will she be able to appreciate the quilts in a respectable way. Dee has nothing but put-downs for Maggie, implying that she is more deserving to receive the quilts. She is using

The strongest example of Dee's confusion and of Walker's belief that a family's heritage should be alive and not frozen in time is at the end of the story. Dee finds the two quilts that had been pieced together by many generations of her family, and she wants to keep them. Her mother says, "In both of them were scraps of dresses Grandma Dee had worn fifty and more years ago. Bits and pieces of Grandpa Jarrell's paisley shirts. And one teeny

Now all of a sudden she has Black Muslim family and wants to impress them so she returns to grab things that are part of her family’s heritage. That are only interested in what they stand for and not for whom they stand for.  Then as soon as she pays a visit to her home, she picks up and walks out again.  It is obvious, to her heritage is for show not for living. The situational irony is present as well. Selfish Dee expects to be able to just walk into Mama’s house and take what she wants. Instead, Mama finally realizes that Maggie deserves the quilts because she understands her heritage. Mama actually understands what Dee is becoming and decides to give the quilts to Maggie.

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.