Everyday Use (Women Writers) (Paperback)

by Alice Walker (Author), Barbara T. Christian (Editor) "I will wait for her in the yard that Maggie and I made so clean and wavy yesterday afternoon..." (more)
Key Phrases: burial quilt, southern black women, black women novelists, Alice Walker, New York, Mama Day (more...)

Editorial Reviews

Product Description
Alice Walker's early story "Everyday Use" has remained a cornerstone of her work. Her use of quilting as a metaphor for the creative legacy that African Americans inherited from their maternal ancestors changed the way we defined art, women's culture, and African American lives. By putting African American women's voices at the center of the narrative for the first time, "Everyday Use" anticipated the focus of an entire generation of black women writers. This casebook includes an introduction by the editor, a chronology of Walker's life, authoritative texts of "Everyday Use" and "In Search of Our Mothers' Gardens," an interview with Walker, six critical essays, and a bibliography. The contributors are Charlotte Pierce-Baker, Houston A. Baker Jr., Thadious M. Davis, Margot Anne Kelley, John O'Brien, Elaine Showalter, and Mary Helen Washington. Barbara T. Christian is a professor of African American Studies at the University of California, Berkeley.

Product Details

• Paperback: 236 pages
• Publisher: Rutgers University Press (May 1, 1994)
• Language: English
• ISBN-10: 0813520762
• ISBN-13: 978-0813520766
• Product Dimensions: 8.9 x 6 x 0.6 inches
• Shipping Weight: 13.6 ounces (View shipping rates and policies)
• Average Customer Review: 4.4 out of 5 stars See all reviews (5 customer reviews)
• Amazon.com Sales Rank: #321,570 in Books (See Bestsellers in Books)

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Customer Reviews

Most Helpful Customer Reviews

1 of 1 people found the following review helpful:

5.0 out of 5 stars Everyday Use puts a spoiled child in her place.., October 11, 2004

By	Shazia (Houston, Tx) - See all my reviews

I think this book's imagery is amazing, and really gives you the perfect picture of the characters. Alice Walker did a great job "weaving" this story and showing us different kinds of African Americans and the heritage that is passed down with family traditions and quilts. This is definitely worth a read to all people, African American or not because we all can relate to the emotions the characters feel. This story is about a mother who was always torn between her two daughters and finally learns how to take a stand. Read it and enjoy!

5.0 out of 5 stars Walker's best short story, March 23, 2009

By	Barbara Brown "bcr8ive" (Orlando) - See all my reviews (REAL NAME)

Everyday Use (Women Writers)

Walker's iconic short story about our changing times. I use this in several of the courses I teach. Each class ends up arguing over who is right.

0 of 1 people found the following review helpful:

5.0 out of 5 stars Black Identity Crisis and Conflict in "Everyday Use", September 10, 2007

By	Jonathan Musere (West Los Angeles, California) - See all my reviews (REAL NAME)

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 in Georgia and migrated to work in an urban environment. Mama, in several ways, views her other daughter, Maggie, who is in the comparison, as the less fortunate one. Her ungenerous appearance partly stems from a house fire that left her with severe burns from which conspicuous scars remain. In Mama's words: "Have you ever seen a lame animal, perhaps a dog run over by some careless person rich enough to own a car, sidle up to someone who is ignorant enough to be kind to him? That is the way my Maggie walks. She has been like this, chin on chest, eyes on ground, feet in shuffle, ever since the fire that burned the other house to the ground. Dee is lighter-skinned than Maggie, has nicer hair and a fuller figure." 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." This is a moving short story that illustrates the conflicts between formal education, rural tradition, urban modernism, culture, individualism, egocentricism, community, cooperation, family relationships, esthetic appearances, capitalism, morality, abandonment, transformation, opportunism, intimidation, oppression, and emancipation. The story illustrates a common American scene, more so in the African-American context.

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; in Mama's words, "She use to read to us without pity; forcing words, lies, other folks' habits, whole lives upon us, sitting trapped and ignorant underneath her voice. She washed us in a river of make-believe, burned us with a lot of knowledge we didn't necessarily need to know." She was outspoken and unabashed, loved to dress well and display her beauty, "Dee wanted nice things." Mama, a woman whose formal school education 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. The aura in the story, of her boldness, ambitiousness, and zeal for sophistication and achievement making people uneasy while struck with awe, is very powerful. 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. Mama says, "She [Dee] had a few [friends]. ...Furtive boys... Nervous girls who never laughed. Impressed with her they worshipped the well-turned phrase, the cute shape, the scalding humor that erupted like bubbles in lye." The author, Alice, Walker does not mention the father or fathers of Dee and Maggie, although she is strong on mentioning her, "rough man-working hands." It is hence safe to presume that Mama is a single mother. Walker would also lead us to wonder about the relationship between the two sisters. Mama, in the piece of writing, concentrates on these two so much that it is likely that these were her only children. 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 esthetic 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. At some point in the text, Mama says of Maggie, "...she stops and tries to dig a well in the sand with her toe," giving us the impression that she sometimes wished that the world would swallow her. 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. We must remember that 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 pretence and vanity in such shows, much of it scripted. Mama opines 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 unappreciation 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." All this is quite representative of the movements toward Africanism and black power in the 1960's and 1970's. Many of the quite formally educated, started adopting African and Islamic names, many times they did not know the meaning or histories of these names, and many became misspelt. It was an attempt at Africanization of identity, and embracing of Islam as an alternative religion to Christianity which was often perceived as the religion of oppressors. Indeed, many slavers and their ancestors have been Churchgoers. 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 is becomes even more profound as Dee attempts to plunder his 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." Both Mama's 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. An animated 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 as against the seemingly foreign brash mannerisms of her older sister.

This story is quite representative of African-American social dynamics and dilemma. Of those who look down upon their past, as well as their less fortunate peers, while looking for fame and fortune in the capitalist world that involves aggressiveness, opportunism, and acquisition of wealth. The rural South is slow, family is important, with traditionalists finding it hard to cope with the extremes of urbanism. Many who leave traditional black culture are ashamed of it, but they still try to hold on to it by keeping cultural artifacts, antiques and souvenirs. Dee delights in seeing their house burn down, yet she comes back to retrieve articles that well could have burned in the same place. She comes to visit with a weird looking man whom she little talks about. But Mama knows exactly the man that Dee will marry. Family, and culture is strong in the rural south; Individualism and ambiguity are strong amongst the black educated elite, who in this pieces are shifting to the culture of "oppressors," though they quite deny that they are doing so. It is a story on black identity crisis, and the place of black culture and values.