Dee throws an epic tantrum and tries to convince Mom that she deserves them more, but the narrator prevails, taking the quilts from Dee and giving them to Maggie. Dee, however, did not take no for an answer. For Dee, education was a way to transcend her experiences and forecast a brighter future for herself in the dawn of the Civil Rights era. She is very physically beautiful and is described as having a great sense of style. After stern efforts on the part of Mama, Dee was able to venture out and acquire a higher education, which was a rarity in itself. Mama rejects this, telling Dee she was named after her Aunt Dicie, who in turn was named after Grandma Dee, and that the name went on through the generations.
As they're eating, Dee becomes totally obsessed with a butter churn in the corner of the yard that was made by her uncle. In this section, Mama connects her lack of education with her inability to question the social conditions that structure her reality. We don't exactly know what she does, but her mother assures us that she's made it. When Mama reaches out to touch the quilts, Dee pulls them back, out of reach. Walker, by inverting this expectation, seems to be writing against it, implying that educating only select individuals is rarely effective in elevating entire communities. In fact, she is famous for coining the term womanist, which she had adopted as part of her identity.
We do not learn in the story whether they are dating, engaged, or married. Maggie understands how to make quilts. As Walker presents Maggie a second time, she emphasizes her lack of self-confidence even more profoundly. Dee drives away, leaving dust and sand in the air. Then both Dee and Hakim-a-barber climb into their car and disappear in a cloud of dust as quickly as they arrived. The irony of Dee rebuking her own heritage in exchange for imagined pre-slavery identity is what shapes the rest of the story. Dee finally arrives wearing a colorful, chic African dress.
She also changes her dressing style to match her African tradition. Dee announces that she's changed her name to Wangero an African name in order to fight her oppressors and she and her mother have a little chat about all that. As Dee wraps up the dasher to take away, Mama touches it and looks it over. Her education has taught her the value of the quilts, but only as items of the past, stripped of their familial context. As Mama explains her situation in a matter-of-fact tone, Walker is able to paint the picture of the setting in a neutral way. Mama and Maggie are similar. Education was not something Mama had access to; the school closed in second grade and no one ever asked why.
Analysis does an adept job at blurring the difference between the stereotypes of rural black American women with the realities that make up their lives. Dee rebukes her immediate genealogy, claiming that all their names come from white slave owners at one point in history. Dee is the elder daughter of Mama, who is self-sufficient in herself and has a different outlook towards life. Then both Dee and Hakim-a-barber climb into their car and disappear in a cloud of dust as quickly as they had arrived. Indeed, she never even tells us her name; her identity is comprised of a hard life of experience and her position as head of her matriarchal family. And this tale has more fireworks than the Fourth of July.
Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment. But, the flip side was the inability of some of the Afro-Americans to come to terms with this change in their conditions. In this regard, she can pass her skills to the next generation. GradeSaver, 28 August 2014 Web. As the story begins, she hesitantly awaits the return of her eldest daughter. We learn that 1 she hasn't had much formal education, 2 she would be voted off American Idol because she can't carry a tune in a bucket, and 3 she had once a crazy encounter with a cow. Mama then vividly flashes back to that house fire, which completely destroyed their ancestral family home.
She also photographed her mother, sister, and their house, not to carry the memories back, but to have the photographs as testimony of the life that they were still living despite the change. But was her education shallow? The quilt itself is a very meaningful item in the sense that it has history in it. They sit down to eat but, while Dee treats the meal as an exotic buffet, Hakim-a-barber announces that he can't eat an unclean animal like pork. Specifically, when Mama mentions her inability to make eye contact with white men, she connects her own internalized racism with her failure to reconcile with her daughter. Please by the claims made and adding. Dee and her mother talk a bit about this and the narrator ultimately rolls with Dee's name change.
Dee coaxes her mother to give her those, in a gesture that she already owns them. Here, we find Dee reminiscing the past at the sight of the benches her father had prepared years ago. However, it also symbolizes value in experience. Such names are associated to black slaves. Both Mama and Maggie are objectified and exploited in these photos, like actors in costume at some living tourist museum.
She makes sure to photograph Mama and Maggie together with the house, not just the two of them. She wanted nice things and stylish clothes. Mama can no longer endure Dee's shaming. Mama marvels at how Dee can manipulate the white audience, twisting her own history into a narrative they want to hear. Dee, on the other hand, could make eye contact with anyone.