In contrast to Dee's workaday use of things, the things used effortless by Maggie and Mama firmly connect them to their heritage. We see Walker does an excellent job of limning in the opening pages, by describing the kindlys of everyday things used by Mama and her skill and pride in using them. From whiteness nightgowns and overalls to sledge hammers and skinned carcasses, Mama is proud of her skill in the use of everyday things. As she tells us, "I can bunk outside all day, breaking ice to get peeing for washing; I can eat pork liver cooked over the open fire...One winter I knocked a strapper calf straight in the brain between the look with a sledge hammer and had the meat hung up
o chill before tumble" (Walker 1). Unlike Dee, Mama and Maggie are not ashamed of the everyday use of things that firmly connect them to their African American and ridiculous heritage.
Dee stands is sharp contrast to the "hangdog" and scarred Maggie (Walker 1). Dee is a charwoman to whom the world has never learned to say No.
Dee's everyday use of things are designed to remove her from this heritage lived by Maggie and Mama. She wears long dresses even in hot weather, so scintillating in color they "throw back the light of the sunbathe" (Walker 3). Dee finds Maggie and Mama backward and has changed her name to reflect what she finds a more aware consciousness of her African American roots, "Wangero" (Walker 3). However, Dee's appreciation of her heritage is put on, like her fancy clothes and her artsy appreciation of the countrified nature of the everyday items used by Maggie and Mama.
In conclusion, Walker uses things of everyday use to help distinguish the difference in connection to heritage between Dee and Mama and Maggie. Dee sees the things Mama and Maggie use daily as backward, quaint or some kind of "artistic" showpiece. Mama and Maggie see t
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