Oppression and Heritage in Everyday Use Essay

Dee is a selfish and egotistical character with a superficial understanding of her inheritance. She characterizes the confusion and misguidance of young African Americans in the late 60s and 70s. This is apparent in her interactions with her mother and sister. Dee "considers herself as cultured, and beyond the abased quality of the lives lived by her mother and sister" (par. 3). She makes her feelings clear when she attempts to "take" the quilts Mama had promised to Maggie: "Maggie can't appreciate these quilts... she'd probably be backward enough to put them to everyday use" (Walker, 103). By using the quilts for purposes other than their original intent she believes that she is respecting her heritage, but this is not the case: her desire to put them on display is "really not quite so different from the white capitalist cashing in on ethnic artworks" (Sexton, par. 4) Not only is she conforming to the worst of American ideals, but she is rejecting and disrespecting her own cultural heritage-- all under the pretenses of preserving it. It is in this sense that she is the "embodiment of the struggle for a unifying identity," because she has not yet come to understand her place in society as both an African and an American.

Everyday Use focuses on the bonds between women of different generations and their enduring legacy, as symbolized in the quilts they fashion together. This connection between generations is strong, yet Dees arrival and lack of understanding of her history shows that those bonds are vulnerable as well. The relationship between Aunt Dicie and Mama, the experienced seamstresses who made the quilts, is very different from the relationship between Maggie and Dee, sisters who share barely a word and have almost nothing in common. Just as Dee cannot understand the legacy of her name, passed along through four generations, she does not understand the significance of the quilts, which contain swatches of clothes once worn or owned by at least a centurys worth of ancestors.

The quilts are pieces of living history, documents in fabric that chronicle the lives of the various generations and the trials, such as war and poverty, that they faced. The quilts serve as a testament to a familys history of pride and struggle. With the limitations that poverty and lack of education placed on her life, Mama considers her personal history one of her few treasures. Her house contains the handicrafts of her extended family. Instead of receiving a financial inheritance from her ancestors, Mama has been given the quilts. For her, these objects have a value that Dee, despite professing her desire to care for and preserve the quilts, is unable to fathom.

Angered by what she views as a history of oppression in her family, Dee has constructed a new heritage for herself and rejected her real heritage. She fails to see the family legacy of her given name and takes on a new name, Wangero, which she believes more accurately represents her African heritage. However, the new name, like the African clothes and jewelry she wears to make a statement, is meaningless. She has little true understanding of Africa, so what she considers her true heritage is actually empty and false. Furthermore, Dee views her real heritage as dead, something of the past, rather than as a living, ongoing creation. She desires the carved dasher and family quilts, but she sees them as artifacts of a lost time, suitable for display but not for actual, practical use. She has set herself outside her own history, rejecting her real heritage in favor of a constructed one.

Mama and Dee have very different ideas about what heritage is, and for Mama, the family objects are infused with the presence of the people who made and used them. The family heirlooms are the true tokens of Dees identity and origins, but Dee knows little about the past. She misstates the essential facts about how the quilts were made and what fabrics were used to make them, even though she pretends to be deeply connected to this folk tradition. Her desire to hang the quilts, in a museumlike exhibit, suggests that she feels reverence for them but that to her they are essentially foreign, impersonal objects. Mama understands that Maggie, not Dee, should have the quilts, because Maggie will respect them by using them in the way they were intended to be used. When Dee contends at the end of the story that Mama and Maggie do not understand their heritage, Walker intends the remark to be ironic: clearly, it is Dee herself who does not understand her heritage.