Everyday Use - Alice Walker - 1973 - Fiction PDF
Document Details
1973
Alice Walker
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Summary
This document is a major works data sheet for Alice Walker's novel "Everyday Use", published in 1973. It provides biographical information about the author and discusses the historical context, as well as information about genres and literary analysis. It is not a past paper or exam.
Full Transcript
**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. | | | | +-----------------+-----------------+-----------------+-----------------+