Alice Walker - Everyday Use Draft
This is a story, set in the rural American south, family house in a pasture, in which an African-American mother, "Mama Johnson," who grew up in the early part of the past century, struggles to absorb, understand, evaluate and appreciate the ramifications of her strongly bucolic and dirty background in comparison with a daughter (Dee) who had obtained an impressive advanced formal education in Augusta, Georgia and migrated to work in an urban environment. Mama, in several ways, views her other daughter, Maggie, who is in comparison the less fortunate one. Her ungenerous appearance partly stems from a house fire that left her with severe burns from which conspicuous scars remain.
The story begins with Mama and Maggie awaiting the visit of Dee. Despite Dee's being a direct blood relative, the two went to great lengths the previous afternoon to make the yard, "so clean and wavy."
It was realized early in life that Dee was the significantly brilliant and ambitious one of the two daughters, she longed for the modern advanced setting. She was outspoken and unabashed, loved to dress well and display her beauty. Mama, a woman whose formal school was shut down in 1927 right after she had achieved a second grade education, apparently embraces her daughter's brilliance and ambitiousness by raising money, with the help of their church, to send her to school in Augusta. Mama and Maggie must have, on one hand, been eager to see Dee leave the home habitation, at least for sometime. Dee was a young lady of beauty and sophisticated language; Mama tells Maggie that she knows of some childhood friends that Dee had. To Mama, such friends were mostly mysterious, grim-faced, and they often seemed to be in a Dee-induced trance...astounded by her knowledge, bombastic articulation, and beauty. Dee apparently has a certain level of fondness for her less fortunate sister, but that seems to be overshadowed by her superiority complex, by her looking down upon Maggie because Maggie does not measure up to her aesthetic and intellectual attributes as well as world view. Dee is quite outward looking and ambitious.
Maggie is quite the opposite...burned, bruised, poor sighted, ungainly in appearance, abashed to the extent of often hiding in corners and wanting to bury her head in the sand. The fire that burned and handicapped Maggie, undoubtedly contributed to her stultified development and reservedness. But it is not clear whether the bullying attitude of her older sister Dee also contributed to this. Dee did read to her sister and mother, indicative of her desire for these blood relatives to become of higher social level and esteem. Mama talks of Maggie, "Sometimes Maggie reads to me. She stumbles along good-naturedly but can't see well. She knows she is not bright." The author also makes us curious about the house fire that scarred Maggie. Mama emphasizes that Dee hated the house and seemed to rejoice in it's burning down. This would raise suspicion that Dee had something to do with the fire. But hardly anything about how the fire was started is mentioned.
As Mama and Maggie await Dee's arrival, Mama imagines what it would be like for her to be introduced alongside an imagined celebrity Dee in a Johnny Carson-like high audience show, a situation in which she would get to travel in a luxurious limousine. She knows it is mostly a dream, and she knows that there is some pretentiousness and vanity in such shows, much of it scripted. Mama thinks that in the TV spotlight, it is people of such attributes as slender build ("hundred pounds lighter" than she is) and fair-skin ("like an uncooked barley pancake") that are preferred. She displays inappreciation for staring straight into a ("white") stranger's eyes, and she was raised to be wary of whites. She marvels that Dee can look anyone in the eye, without hesitation. It is indeed a new generation of blacks, and more are coming. Mama knows that TV leaves out a lot of reality. She is a good example of reality, and she is proud of her bucolic strength: "In real life I am a large, big-boned woman with rough, man-working hands....I can kill and clean a hog as mercilessly as a man." Unlike this era, such comparisons between masculine and feminine strength seem to have been quite common.
The visit, by Dee, to such close blood relatives that she had not seen for years, is notably short. Mama and an intimidated Maggie are astounded by the glamorous, brilliant, luxurious attire and jewelry on Dee. They are also awe-struck by the appearance of her, "short, stocky," companion from the other side of the car. Dee starts by uttering, "Wa-su-zo. Tean-o." Although, nothing further is mentioned about those words, some, with some knowledge of African languages would know that it stands for, "Wasuze otya nno?," 'How was your night,' in the Luganda east African language. The man starts with the Arabic-Islam greeting, "Asalamalakim," which Mama, at first, thinks is his name. Dee says she is no longer Dee, but now goes by the African names, "Wangero Leewanika Kemanjo." No explanation of these African names is offered, aside from Dee's dubious mentioning that they attach her to her indigenous African heritage, and displace names given to her by "oppressors," this in reference to her legacy of slavery. Walker does not tell us that Leewanika is probably a misspelling of the name of southern African King Lewanika who collaborated with the British. Neither does Walker elaborate further on the other names. "Ngero," in Luganda, means "stories" or "tales," "Wangero" meaning, "the one associated with stories/ tales." Kemanjo is probably a misspelling of some African name, or it is not a common African name. Mama gets to learn that "Asalamalakim" is Hakim-a-barber, probably a mishearing of the Arabic Islam names, "Hakim Akbar." The paradox here is that the Dees and Hakims of this world are disdainful of their black-African heritage that is closest to them. Compared to the African culture of the Deep South, adopting African names is only a token of African culture. This ambivalence becomes even more profound as Dee attempts to plunder her family of valuable crafts, such as quilts (put together over ancestral generations) and a churn handed down from previous ancestors. Dee likely wants to keep these valuables, as tokens of her heritage, as souvenirs, displayed in her home. Dee even belittles Maggie who owns some of them, saying she was only capable of putting them to "Everyday use," and laughingly saying that, "Maggie's brain is like an elephant's" (also meaning that she has a good memory). Both Mama and Maggie get disturbed and angered by Dee's demeanor of disrespect, insulting, selfishness, and aggression. Maggie still wants to give in to Dee, over the quilts that she really wants. But Mama strongly declines and throws the quilts into Maggie's lap. Dee and Akbar leave shortly, soon after Dee implying to Mama that she did not understand the value of heritage and that Maggie should elevate herself out of the southern black rural environment. It is in this last incident that Mama gets to appreciate the strength and value of her younger daughter against the seemingly foreign brash mannerisms of her older sister.
The story begins with Mama and Maggie awaiting the visit of Dee. Despite Dee's being a direct blood relative, the two went to great lengths the previous afternoon to make the yard, "so clean and wavy."
It was realized early in life that Dee was the significantly brilliant and ambitious one of the two daughters, she longed for the modern advanced setting. She was outspoken and unabashed, loved to dress well and display her beauty. Mama, a woman whose formal school was shut down in 1927 right after she had achieved a second grade education, apparently embraces her daughter's brilliance and ambitiousness by raising money, with the help of their church, to send her to school in Augusta. Mama and Maggie must have, on one hand, been eager to see Dee leave the home habitation, at least for sometime. Dee was a young lady of beauty and sophisticated language; Mama tells Maggie that she knows of some childhood friends that Dee had. To Mama, such friends were mostly mysterious, grim-faced, and they often seemed to be in a Dee-induced trance...astounded by her knowledge, bombastic articulation, and beauty. Dee apparently has a certain level of fondness for her less fortunate sister, but that seems to be overshadowed by her superiority complex, by her looking down upon Maggie because Maggie does not measure up to her aesthetic and intellectual attributes as well as world view. Dee is quite outward looking and ambitious.
Maggie is quite the opposite...burned, bruised, poor sighted, ungainly in appearance, abashed to the extent of often hiding in corners and wanting to bury her head in the sand. The fire that burned and handicapped Maggie, undoubtedly contributed to her stultified development and reservedness. But it is not clear whether the bullying attitude of her older sister Dee also contributed to this. Dee did read to her sister and mother, indicative of her desire for these blood relatives to become of higher social level and esteem. Mama talks of Maggie, "Sometimes Maggie reads to me. She stumbles along good-naturedly but can't see well. She knows she is not bright." The author also makes us curious about the house fire that scarred Maggie. Mama emphasizes that Dee hated the house and seemed to rejoice in it's burning down. This would raise suspicion that Dee had something to do with the fire. But hardly anything about how the fire was started is mentioned.
As Mama and Maggie await Dee's arrival, Mama imagines what it would be like for her to be introduced alongside an imagined celebrity Dee in a Johnny Carson-like high audience show, a situation in which she would get to travel in a luxurious limousine. She knows it is mostly a dream, and she knows that there is some pretentiousness and vanity in such shows, much of it scripted. Mama thinks that in the TV spotlight, it is people of such attributes as slender build ("hundred pounds lighter" than she is) and fair-skin ("like an uncooked barley pancake") that are preferred. She displays inappreciation for staring straight into a ("white") stranger's eyes, and she was raised to be wary of whites. She marvels that Dee can look anyone in the eye, without hesitation. It is indeed a new generation of blacks, and more are coming. Mama knows that TV leaves out a lot of reality. She is a good example of reality, and she is proud of her bucolic strength: "In real life I am a large, big-boned woman with rough, man-working hands....I can kill and clean a hog as mercilessly as a man." Unlike this era, such comparisons between masculine and feminine strength seem to have been quite common.
The visit, by Dee, to such close blood relatives that she had not seen for years, is notably short. Mama and an intimidated Maggie are astounded by the glamorous, brilliant, luxurious attire and jewelry on Dee. They are also awe-struck by the appearance of her, "short, stocky," companion from the other side of the car. Dee starts by uttering, "Wa-su-zo. Tean-o." Although, nothing further is mentioned about those words, some, with some knowledge of African languages would know that it stands for, "Wasuze otya nno?," 'How was your night,' in the Luganda east African language. The man starts with the Arabic-Islam greeting, "Asalamalakim," which Mama, at first, thinks is his name. Dee says she is no longer Dee, but now goes by the African names, "Wangero Leewanika Kemanjo." No explanation of these African names is offered, aside from Dee's dubious mentioning that they attach her to her indigenous African heritage, and displace names given to her by "oppressors," this in reference to her legacy of slavery. Walker does not tell us that Leewanika is probably a misspelling of the name of southern African King Lewanika who collaborated with the British. Neither does Walker elaborate further on the other names. "Ngero," in Luganda, means "stories" or "tales," "Wangero" meaning, "the one associated with stories/ tales." Kemanjo is probably a misspelling of some African name, or it is not a common African name. Mama gets to learn that "Asalamalakim" is Hakim-a-barber, probably a mishearing of the Arabic Islam names, "Hakim Akbar." The paradox here is that the Dees and Hakims of this world are disdainful of their black-African heritage that is closest to them. Compared to the African culture of the Deep South, adopting African names is only a token of African culture. This ambivalence becomes even more profound as Dee attempts to plunder her family of valuable crafts, such as quilts (put together over ancestral generations) and a churn handed down from previous ancestors. Dee likely wants to keep these valuables, as tokens of her heritage, as souvenirs, displayed in her home. Dee even belittles Maggie who owns some of them, saying she was only capable of putting them to "Everyday use," and laughingly saying that, "Maggie's brain is like an elephant's" (also meaning that she has a good memory). Both Mama and Maggie get disturbed and angered by Dee's demeanor of disrespect, insulting, selfishness, and aggression. Maggie still wants to give in to Dee, over the quilts that she really wants. But Mama strongly declines and throws the quilts into Maggie's lap. Dee and Akbar leave shortly, soon after Dee implying to Mama that she did not understand the value of heritage and that Maggie should elevate herself out of the southern black rural environment. It is in this last incident that Mama gets to appreciate the strength and value of her younger daughter against the seemingly foreign brash mannerisms of her older sister.
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