Furthermore, Dee’s new name is not even correctly spelled which adds to her trivial attitude toward her newly adopted African culture. White informs readers of validity of her name, “Wangero and Kemanjo are misspellings of the Kikiyu names ‘Wanjero’ and ‘Kemenjo.’” Also, ‘Leewanika is correct but not Kikiyu, but of another African tribe (White 3). Dee’s inconsistencies only add to her frivolous sophistication and her inability to check her sources.
In addition, Dee’s (Wangero’s) motives for her family’s possessions only add to her superficial nature and lack of understanding of her family. At dinner, Dee asks/takes the churn top and dasher having no knowledge of it unlike her sister, Maggie. Dee wants it to as a centerpiece in her house and not actually put it to everyday use (145). Using it as a centerpiece is a bit ironic considering that the “white oppressors” are the ones who usually collect antiques from for decorations. Dee’s desire to do just that goes against her previous claim about the “white oppressor,” proving her shallow thinking.
Later on, Dee (Wangero) asks for the “old quilts” (145). She wants them to hang on the wall for all to see her heritage as if it was for display. Dee claims that hanging the quilts is the only thing you could do with them (146). “Maggie can’t appreciate these quilts!” she said. “She’d probably be backward enough to put them to everyday use” (146). Dee says she would hang them, which is not the purpose of quilts were made for but instead for how she puts it “everyday use.” Because the quilts are made up of scraps of old clothing belonging to different generation with a story behind it, the quilts symbolize the bond between the family over several generations. The quilts also bond the women of the family because the quilts are passes down generation to generation from one woman to another. Using the quilts everyday will be a reminder of each generation. The quilts unify the family being made up of a little of everything that is important to them including a “piece of Great-Grandpa’s Ezra’s uniform… wore (worn) in the Civil War” (145). If Wangero really understood her African heritage, the one influenced by the Black Power movement, then she would not want the quilt because of the uniform seeing as her great-grandpa fought for the South where the majority of the African-Americans had forced to fight by the “white oppressor” representing the family’s American heritage the battle and struggle. Of course, that would mean she would have to know what her family history is and how it is included in the quilt. She does not know thus, yearns for the quilt since being “Black” is in.
Unlike Dee, Maggie is very aware of her culture. Maggie knows the stories behind each priceless, family possession like the churn top carved by Uncle Buddy and the dasher whittled by Stash (145). The quilts Wangero so desperately wants are promised to Maggie, and Maggie selflessly accustomed gives them up to her spoiled sister. “I can ‘member Grandma Dee without the quilts” (146). Maggie knows all about her heritage including how to quilt taught by Big Dee and Grandma Dee. She knows that even if her sister keeps the quilts, she will still have her family history in her head and especially in her heart.
Her mother describes Maggie as “a lame animal …chin on chest, eyes on ground, feet in shuffle…” (41). Maggie is described as an obedient Negro during the Civil War era. She is completely opposite of those following Black Power movement like her sister does. Dee’s “neglected American heritage is represented by… Maggie …This denial of American heritage is evident in Dee’s lack of interaction with Maggie” (White 2-3). Dee does not know or will not accept her American heritage. This is apparent because Dee only directly speaks to Maggie at the end, but it is only to give her advice and depart after she did not get what she wants.
Prior to this, “she (Maggie) stood there with her scarred hands hidden in the folds of her skirt” (Walker146). Maggie’s scars symbolize the scars of all the African-Americans who endured a “fire of slavery” (White 4). Maggie hiding her scars in her skirt represent how desperately after the Civil War Africans wanted to be treated as human beings but were not because those scars do not just go away. These newly freed blacks could not just forget what they had suffered. Plus, many have grown used to a life of labor like Maggie and Mama continue with in their own lives. Both cannot just join Dee in this superficial culture because those scars remind them what their family really went through here in America.
At the climax of the story, Mama takes a stand against Dee keeping the family’s heritage alive. Dee is denying her heritage and only wanted the African works of art to show off her roots to those of upper class. Mama clearly did not respect the name “Wangero,” it was more sarcasm. At first, she refers to her by “Wangero,” then by both names and finally when she takes a stand, Dee. As White stated, “Wangero” had had rejected “Dee,” Mama now rejects “Wangero” (Walker 5). Mama rejecting Wangero and now accepts Maggie seeing her as a strong woman for enduring those scars from the fire in which she had no control over. Mama knows that Maggie see her scars and is proud of her heritage not ashamed as Dee once was but now that it is “in” to be Black she has “Black Power.”
Dee needs to accept both aspects of her heritage both African and American because otherwise her ancestor’s hardships would have been in vain. Walker illustrates to her audience the importance of appreciating one’s heritage because it is what makes up who one’s family is. Through trials and tribulations, Dee’s ancestors made her current life easier for her to live in America. All one can hope is that she will appreciate her blessing and not take them for granted.
