Everyday Use - Alice Walker - 1973 - Fiction PDF

**AP English Literature and Composition** **MAJOR WORKS DATA SHEET** +-----------------+-----------------+-----------------+-----------------+ | **Title: | **Biographical | | | | Everyday Use** | Information | | | |...

**AP English Literature and Composition** **MAJOR WORKS DATA SHEET** +-----------------+-----------------+-----------------+-----------------+ | **Title: | **Biographical | | | | Everyday Use** | Information | | | | | about the | | | | **Author: | Author** | | | | \_[Alice | | | | | Walker]{.underl | | | | | ine}\_\_\_\_\_\ | | | | | _\_\_\_\_\_\_\_ | | | | | \_\_\_\_\_\_** | | | | | | | | | | **Date of | | | | | Publication: | | | | | \_{.under | | | | | line}\_\_\_\_\_ | | | | | \_\_\_\_\_\_\_\ | | | | | _\_\_** | | | | | | | | | | **Genre: | | | | | \_[Fiction]{.un | | | | | derline}\_\_\_\ | | | | | _\_\_\_\_\_\_\_ | | | | | \_\_\_\_\_\_\_\ | | | | | _\_\_\_\_\_\_** | | | | +-----------------+-----------------+-----------------+-----------------+ | | Alice Walker, a | | | | | leading black | | | | | writer and | | | | | social activist | | | | | was born in | | | | | 1944 in | | | | | Eatonton, | | | | | Georgia, as the | | | | | youngest of | | | | | eight. Her | | | | | family yearly | | | | | income was a | | | | | little over | | | | | \$300 as her | | | | | father was a | | | | | sharecropper | | | | | and a dairy | | | | | farmer, while | | | | | her mom was a | | | | | maid. | | | | | | | | | | She attended | | | | | Spelman College | | | | | in Atlanta and | | | | | finished | | | | | college at | | | | | Sarah Lawrence | | | | | College on a | | | | | scholarship. | | | | | While working | | | | | for the civil | | | | | rights movement | | | | | in Mississippi, | | | | | she met a | | | | | lawyer named | | | | | Melvyn | | | | | Leventhal whom | | | | | she settled | | | | | with in 1967 in | | | | | Jackson then | | | | | divorced after | | | | | returning to | | | | | New York in | | | | | 1974. | | | | | | | | | | As a poet and | | | | | writer, she | | | | | published: | | | | | Womanist Prose | | | | | (1983), In Love | | | | | And Trouble | | | | | (1973), You | | | | | Can't Keep A | | | | | Good Woman Down | | | | | (1981), The Way | | | | | Forward Is With | | | | | A Broken Heart | | | | | (2000), The | | | | | Third Life Of | | | | | Grange Copeland | | | | | (1970), | | | | | Meridian | | | | | (1976), The | | | | | Temple Of My | | | | | Familiar | | | | | (1989), | | | | | Possessing The | | | | | Secret Of Joy | | | | | (1992), By The | | | | | Light Of My | | | | | Father's Smile. | | | | | Her best-known | | | | | novel, The | | | | | Color Purple | | | | | (1982) won a | | | | | Pulitzer Prize | | | | | and was made | | | | | into a film. | | | | | | | | | | She now lives | | | | | in Northen | | | | | California. | | | +-----------------+-----------------+-----------------+-----------------+ | **Historical | | | | | Information | | | | | about the | | | | | period of | | | | | publication** | | | | +-----------------+-----------------+-----------------+-----------------+ | The period | | | | | around the | | | | | 1970's was a | | | | | notable time | | | | | for the United | | | | | States, as many | | | | | key events such | | | | | as the | | | | | Watergate | | | | | scandal and the | | | | | Vietnam War | | | | | were occurring, | | | | | playing a key | | | | | role in | | | | | changing the | | | | | political | | | | | atmosphere. | | | | | | | | | | It was also the | | | | | midst of the | | | | | civil rights | | | | | movement for | | | | | African | | | | | Americans and | | | | | women. This is | | | | | especially | | | | | relevant for | | | | | the author | | | | | since these | | | | | efforts for | | | | | equal rights | | | | | allowed her, as | | | | | an African | | | | | American woman, | | | | | to publish her | | | | | works and be | | | | | recognized for | | | | | her efforts. | | | | +-----------------+-----------------+-----------------+-----------------+ | | **Characteristi | | | | | cs | | | | | of the Genre** | | | +-----------------+-----------------+-----------------+-----------------+ | | Complex | | | | | characters, | | | | | realistic | | | | | setting, focus | | | | | on inner life, | | | | | social and | | | | | cultural | | | | | commentary, | | | | | symbolism of | | | | | the family's | | | | | heritage and | | | | | the diverse | | | | | ways it can be | | | | | valued and | | | | | preserved. | | | +-----------------+-----------------+-----------------+-----------------+ | **Plot | | | | | Summary** | | | | +-----------------+-----------------+-----------------+-----------------+ | Mama, an | | | | | African | | | | | American woman | | | | | who lives in | | | | | the rural South | | | | | with her | | | | | younger | | | | | daughter | | | | | Maggie, tells | | | | | the story. | | | | | After sending | | | | | her eldest | | | | | daughter, Dee, | | | | | off to college, | | | | | who adopts a | | | | | new and modern | | | | | lifestyle, Mama | | | | | is looking | | | | | forward to her | | | | | visit. Dee | | | | | shows up with a | | | | | new name, | | | | | Wangero, and a | | | | | boyfriend named | | | | | Hakim-a-barber. | | | | | | | | | | A mismatch of | | | | | values between | | | | | Dee and her | | | | | family is | | | | | rapidly shown | | | | | during her | | | | | stay. She wants | | | | | to bring home | | | | | various | | | | | objects, such | | | | | as quilts made | | | | | by hand, as | | | | | mementos of her | | | | | past. But | | | | | Maggie knows | | | | | and appreciates | | | | | the quilts as a | | | | | part of her | | | | | daily | | | | | existence, and | | | | | Mama has | | | | | promised her | | | | | the quilts. The | | | | | narrative ends | | | | | with Mama\'s | | | | | choice to | | | | | oppose Dee and | | | | | support | | | | | Maggie\'s ties | | | | | to their | | | | | ancestry. | | | | +-----------------+-----------------+-----------------+-----------------+ | **Describe the | **An example | | | | author's | that | | | | style** | demonstrates | | | | | that style** | | | +-----------------+-----------------+-----------------+-----------------+ | The author | An example of | | | | makes use of | the author | | | | imagery and | using imagery | | | | sensory details | to visually | | | | to build the | build a scene | | | | scene visually, | is seen when it | | | | allowing the | states "How | | | | reader to feel | long ago was it | | | | present with | that the other | | | | the story. | house burned? | | | | | Ten, twelve | | | | The use of a | years? | | | | first-person | Sometimes I can | | | | perspective and | still hear the | | | | insight into | flames and feel | | | | the narrator's | Maggie's arms | | | | unfiltered | sticking to me, | | | | thoughts, | her hair | | | | portrayed with | smoking and her | | | | a causal | dress falling | | | | register, also | off her in | | | | makes the | little black | | | | audience feel | papery flakes. | | | | more connected | Her eyes | | | | with her. | stretched open, | | | | | blazed open by | | | | | the flames | | | | | reflected in | | | | | them?". This | | | | | imagery is | | | | | meant to show | | | | | that their old | | | | | house burning | | | | | down was so | | | | | traumatic that | | | | | even a decade | | | | | later, Mama is | | | | | still able to | | | | | have flashbacks | | | | | of even the | | | | | sensations, and | | | | | how this event | | | | | had shaped the | | | | | lives of Mama | | | | | and Maggie. | | | +-----------------+-----------------+-----------------+-----------------+ | **Memorable | | | | | Quotes** | | | | +-----------------+-----------------+-----------------+-----------------+ | **Quotation** | **Significance* | | | | | * | | | +-----------------+-----------------+-----------------+-----------------+ | "I did | Previously, | | | | something I | Mama reliably | | | | never had done | referred to Dee | | | | before: hugged | as "Dee | | | | Maggie to me, | (Wangero)", | | | | then dragged | which reflected | | | | her on into the | how she | | | | room, snatched | respected her | | | | the quilts out | daughter's new | | | | of Miss | identity while | | | | Wangero's hands | still fondly | | | | and dumped them | seeing her as | | | | into Maggie's | the ambitious | | | | lap." | little girl she | | | | | raised. | | | | - Mama | However, as Dee | | | | (narrator) | continues to | | | | | push and show | | | | "Wa-su-zo-Tean- | where her true | | | | o!" | values lie, | | | | | Mama finally | | | | - Dee | takes a stand | | | | | up to her, | | | | "She'd probably | referring to | | | | be backward | her as "Miss | | | | enough to put | Wangero" to | | | | them to | show how Dee is | | | | everyday use." | no longer the | | | | | person she | | | | - Dee | thought she | | | | | was. | | | | "Why don't you | | | | | go dance around | Dee is | | | | the ashes? I'd | attempting to | | | | wanted to ask | say a Swahili | | | | her. She had | greeting, | | | | hated the house | though she must | | | | that much." | pause and sound | | | | | out each | | | | - Mama | syllable to do | | | | (narrator) | so. This act | | | | | gives us | | | | "I am the way | insight into | | | | my daughter | Dee and her | | | | would want me | character, as | | | | to be: a | her attempt to | | | | hundred pounds | speak Swahili | | | | lighter, my | reflects her | | | | skin like an | current agenda | | | | uncooked barley | of reconnecting | | | | pancake." | with her past. | | | | | However, it's | | | | - Mama | clear with her | | | | (narrator) | awkward | | | | | pronunciation | | | | | that she is | | | | | only | | | | | recognizing her | | | | | upbringing | | | | | recently to | | | | | flaunt her | | | | | growth and | | | | | heritage for | | | | | superficial | | | | | reasons, having | | | | | not learned the | | | | | language in her | | | | | youth despite | | | | | most likely | | | | | haven been | | | | | given the | | | | | chance to do | | | | | so. | | | | | | | | | | Dee's statement | | | | | is a reference | | | | | to the title of | | | | | the short | | | | | story, which is | | | | | most fit for | | | | | this moment | | | | | since it | | | | | highlights the | | | | | entire scope of | | | | | the plot. Here, | | | | | we see the | | | | | difference | | | | | between Dee and | | | | | the narrator's | | | | | perspectives | | | | | most clearly, | | | | | as they are | | | | | directly | | | | | arguing about | | | | | the value of a | | | | | quilt, which | | | | | reflects the | | | | | key conflict of | | | | | the text. It is | | | | | also the moment | | | | | that precedes | | | | | the narrator's | | | | | epiphany. | | | | | | | | | | This flashback | | | | | into the past | | | | | of Mama and Dee | | | | | builds and | | | | | shows the | | | | | audience what | | | | | their character | | | | | is like, | | | | | allowing us to | | | | | better | | | | | understand them | | | | | and their | | | | | nuances. It | | | | | provides the | | | | | readers with a | | | | | reference point | | | | | as to judge Dee | | | | | by, which makes | | | | | her return and | | | | | sudden | | | | | appreciation | | | | | for her past | | | | | home life even | | | | | more impactful. | | | | | By knowing that | | | | | she once | | | | | despised | | | | | everything, we | | | | | truly see how | | | | | superficial Dee | | | | | is. | | | | | | | | | | This seemingly | | | | | offhanded | | | | | comment | | | | | provides the | | | | | audience | | | | | insight into | | | | | Mama's and | | | | | Dee's | | | | | relationship. | | | | | Mama's | | | | | awareness of | | | | | her daughter's | | | | | opinion shows | | | | | that she knows | | | | | of Dee's | | | | | nature. | | | | | However, given | | | | | how she still | | | | | thinks fondly | | | | | of Dee, Mama | | | | | doesn't fully | | | | | acknowledge her | | | | | true nature or | | | | | shallow values. | | | +-----------------+-----------------+-----------------+-----------------+ | **Characters** | | | | +-----------------+-----------------+-----------------+-----------------+ | **Name** | **Role in the | **Significance* | **Adjectives** | | | Story** | * | | +-----------------+-----------------+-----------------+-----------------+ | - Mama | - Narrator, | - Represents | - Practical, | | | mother of | traditional | strong, | | - Dee | Dee and | values and | caring | | (Wangero) | Maggie | the | | | | | struggle | | | - Maggie | - Mama's | for | | | | daughter, | identity. | - Bold, | | - Hakim-a-bar | Maggie's | Mama\'s | assertive, | | ber | sister | character | educated | | | | highlights | | | | - Mama's | the tension | - Shy, | | | younger | between | humble, | | | daughter | preserving | insecure | | | | cultural | | | | - Dee's | heritage | - Modern, | | | boyfriend | and | detached | | | | adapting to | | | | | change. | | | | | | | | | | - Embodies | | | | | the | | | | | conflict | | | | | between | | | | | cultural | | | | | heritage | | | | | and | | | | | modernity. | | | | | Dee's | | | | | desire to | | | | | reconnect | | | | | with her | | | | | African | | | | | roots | | | | | contrasts | | | | | with her | | | | | mother\'s | | | | | more | | | | | practical | | | | | view. Her | | | | | character | | | | | illustrates | | | | | the | | | | | generationa | | | | | l | | | | | and | | | | | ideological | | | | | gap between | | | | | modern and | | | | | traditional | | | | | values. | | | | | | | | | | | | | | | | | | | | - Symbolizes | | | | | resilience | | | | | and the | | | | | connection | | | | | to family | | | | | heritage. | | | | | Maggie's | | | | | quiet | | | | | strength | | | | | and deep | | | | | appreciatio | | | | | n | | | | | for her | | | | | family's | | | | | heritage | | | | | highlight | | | | | the story's | | | | | theme of | | | | | authenticit | | | | | y | | | | | versus | | | | | superficial | | | | | ity. | | | | | She | | | | | represents | | | | | the | | | | | enduring | | | | | value of | | | | | traditional | | | | | family | | | | | ties. | | | | | | | | | | - Represents | | | | | the new | | | | | cultural | | | | | identity | | | | | that Dee | | | | | embraces. | | | | | Hakim-a-bar | | | | | ber\'s | | | | | character | | | | | reflects | | | | | the | | | | | changing | | | | | cultural | | | | | dynamics | | | | | and the | | | | | influence | | | | | of new | | | | | ideologies | | | | | on Dee\'s | | | | | perspective | | | | |. | | | | | His | | | | | presence | | | | | signifies | | | | | the shift | | | | | towards a | | | | | more | | | | | contemporar | | | | | y | | | | | and, at | | | | | times, | | | | | disjointed | | | | | view of | | | | | heritage. | | +-----------------+-----------------+-----------------+-----------------+ | **Setting** | **Significance | | | | | of opening | | | | | scene** | | | +-----------------+-----------------+-----------------+-----------------+ | The setting is | The opening | | | | first set in | scene | | | | the afternoon, | introduces the | | | | in the yard of | setting, the | | | | the main | characters, as | | | | characters' | well as the | | | | house. Most of | type of life | | | | the story takes | they have led | | | | place inside of | so far. It also | | | | the family's | gives the | | | | home. | reader an idea | | | | | of the main | | | | | characters' | | | | | personality. | | | +-----------------+-----------------+-----------------+-----------------+ | | **Significance | | | | | of | | | | | ending/closing | | | | | scene** | | | +-----------------+-----------------+-----------------+-----------------+ | | The | | | | | significance of | | | | | the closing | | | | | scene is the | | | | | fact that | | | | | Mama's decision | | | | | to give the | | | | | quilts to | | | | | Maggie and not | | | | | Dee shows Mama | | | | | finally sees | | | | | Dee's true | | | | | colors. The | | | | | fact that | | | | | Maggie only | | | | | smiles as Dee | | | | | chastises her | | | | | also shows that | | | | | Maggie is no | | | | | longer | | | | | intimidated by | | | | | Dee and is | | | | | gaining more | | | | | confidence in | | | | | herself. This | | | | | can also | | | | | represent | | | | | Maggie starting | | | | | to move on from | | | | | the trauma of | | | | | the housefire, | | | | | as after | | | | | surviving this | | | | | event, she | | | | | became very | | | | | timid, but the | | | | | fact that she | | | | | wasn't phased | | | | | by Dee's | | | | | criticism and | | | | | instead smiled | | | | | shows she is | | | | | gaining more | | | | | confidence than | | | | | she had before. | | | +-----------------+-----------------+-----------------+-----------------+ | **Symbols** | | | | +-----------------+-----------------+-----------------+-----------------+ | - The quilts | | | | | serve as a | | | | | representat | | | | | ion | | | | | of the | | | | | family's | | | | | cultural | | | | | heritage. | | | | | | | | | | - Their old | | | | | house | | | | | burning | | | | | down | | | | | represented | | | | | the family | | | | | losing a | | | | | chapter of | | | | | their | | | | | lives. It | | | | | also | | | | | represents | | | | | Maggie | | | | | losing her | | | | | confidence | | | | | (her | | | | | confidence | | | | | being | | | | | burned down | | | | | along with | | | | | her house), | | | | | and how | | | | | evil Dee is | | | | | as she | | | | | doesn't | | | | | seem upset | | | | | about the | | | | | house | | | | | burning | | | | | down. | | | | | | | | | | - The clothes | | | | | Maggie and | | | | | Dee wear | | | | | are | | | | | representat | | | | | ions | | | | | of their | | | | | personaliti | | | | | es, | | | | | with Dee's | | | | | clothing | | | | | symbolizing | | | | | her | | | | | confident, | | | | | and | | | | | materialist | | | | | ic | | | | | character, | | | | | and | | | | | Maggie's | | | | | expressing | | | | | her shy and | | | | | quiet | | | | | nature. | | | | | | | | | | - Dee's name | | | | | meaning is | | | | | "dark", | | | | | which | | | | | symbolizes | | | | | her | | | | | unsympathet | | | | | ic | | | | | and hollow | | | | | nature. | | | | | Maggie's | | | | | name means | | | | | pearl, | | | | | which | | | | | signifies | | | | | her shy | | | | | nature, and | | | | | how to find | | | | | a pearl, | | | | | you must | | | | | carefully | | | | | search for | | | | | it, which | | | | | Mama never | | | | | did until | | | | | she gave | | | | | the quilts | | | | | to Maggie | | | | | instead of | | | | | Dee, where | | | | | Maggie's | | | | | new | | | | | confidence | | | | | was shown | | | | | by her | | | | | being | | | | | unphased by | | | | | Dee yelling | | | | | at her. | | | | +-----------------+-----------------+-----------------+-----------------+ | | **Old AP | | | | | Questions** | | | +-----------------+-----------------+-----------------+-----------------+ | | None | | | +-----------------+-----------------+-----------------+-----------------+ | **Possible | | | | | Themes** | | | | +-----------------+-----------------+-----------------+-----------------+ | A possible | | | | | theme in the | | | | | story is the | | | | | importance of | | | | | not trying | | | | | overly hard to | | | | | please others, | | | | | as Dee was | | | | | spoiled so she | | | | | was never truly | | | | | pleased with | | | | | her mother's | | | | | efforts to make | | | | | her happy. | | | | | Other themes | | | | | include taking | | | | | pride in your | | | | | heritage, the | | | | | value of being | | | | | practical and | | | | | humble, and how | | | | | past | | | | | experiences | | | | | affect oneself | | | | | (showing how | | | | | timid Maggie | | | | | became after | | | | | surviving the | | | | | housefire). One | | | | | overarching | | | | | theme that | | | | | could be | | | | | deduced is the | | | | | difference in | | | | | values between | | | | | people, as seen | | | | | with Dee and | | | | | her family's | | | | | vastly | | | | | different | | | | | priorities and | | | | | perspectives on | | | | | certain | | | | | matters. | | | | +-----------------+-----------------+-----------------+-----------------+