Because the reader is limited entirely to Mama ‘s first individual point of position and her ain descriptive memories sing Dee ‘s yesteryear, the thought of her household ‘s cultural heritage is presented in such a manner as to hold the reader side with Mama at the decision of the narrative. Mama contrasts and compares Dee with Maggie. Dee is described as “ the kid who has A‘made it ‘ ” ( 106 ) , while Maggie is pitifully compared with a square animate being ; “ have you of all time seen a square animate being… sidle up to person who is nescient plenty to be sort to him? That is the manner my Maggie walks. She has been like this… of all time since the fire that burned the other house to the land ” ( 107 ) . Dee is strong, certain of herself, has her ain manner, has large ends set in topographic point for herself and finally is sent away to college. However, Dee did non truly keep strong friendly relationships, she more than probably chased them all off with her “ faultfinding power ” ( 109 ) . Mama states she herself did non hold an instruction ; her school merely closed down. “ Do n’t inquire me why, ” she says, “ in 1927 colored asked fewer inquiries than they did now ” ( 108 ) . Maggie seems to meekly understand her ain station in her life and within her household, she is to get married John Thomas and live a quiet, simple life.
When Dee arrives at the household place, Maggie and Mama are surprised to see Dee accompanied with a adult male with hair apparently everyplace and notice that Dee is dressed in bright colourss and has let her ain hair “ base straight up like the wool on a sheep ” ( 109 ) . Mama and Maggie are presented with an extra daze when Dee announces she has changed her name to Wangero Leewanika Kemanjo. When questioned about the name alteration, Dee merely answers that A‘Dee ‘ is “ ‘dead… I could n’t bear it any longer, being named after the people who oppress me ‘ ” ( 110 ) . Mama is speedy to indicate out that Dee was non named after the white “ oppressors ” , but she was named after persons within their ain household. Dee does non look impressed. While Mama efforts to follow the history of the name, Dee ‘s new name, Wangero, appears to Dee more culturally acceptable. The name Wangero more than probably is a traditional African name. It seems Dee wants to bury her household ‘s late oppressed yesteryear, and dig even further into their roots.
What one time Dee shunned, she has now found a new grasp for. In the yesteryear, one of the household ‘s first places was burned down while Dee stood steadfastly nearby and stared at the fires. Mama states that Dee truly had “ hated the house ” ( 107 ) and the reader is led to inquire if possibly Dee might hold set fire to her ain place. Now that Dee, or Wangero, has come back to see Mama and Maggie at their current place, she delectations in all of the place trappingss. Dee asks Mama for the churn top every bit good as the dasher ; points that are still in usage at the place. The fact that Dee had no thought who “ whittled ” the dasher, that Maggie had to reply the inquiry Dee ‘s comrade brought up, efficaciously portrays the two different senses of heritage and values with their household. Following, the reader learns that while Mama and Maggie have been utilizing the churn and the dasher for the intents they were created for, Dee wishes to retain the points as ornament, pieces of art. For a minute, Mama pauses over the dasher, detecting that “ you did n’t even hold to look close to see where custodies forcing the dasher up and down to do butter had left a sort of sink in the wood ” ( 111 ) . She is acknowledging the point ‘s usage and memory who whittled it and who used it. Now, Dee merely wants them for table ornaments. Dee wants to demo off her household ‘s heritage.
This thought of Dee wishing to environ herself with her household ‘s yesteryear, but in a current and artistic sense, is farther exemplified when Dee searches through Mama ‘s bole and comes across some old household comforters. Now the reader is subjected to the tenseness and struggle of Mama and Maggie and their simple, hard-working tradition versus Dee ‘s submergence into the current black cultural motion. Equally shortly as Dee asks for the comforters, Mama has already quit mentioning to Dee as A‘Dee ( Wangero ) ‘ and merely calls her Wangero. Mama already is dividing Wangero from herself and Maggie in her head. Dee asks for the comforters and Maggie, in passive-aggressive behaviour, is demoing her choler and antipathy for Wangero ‘s petition by making riotous noise in the other room ; “ something falls in the kitchen, and a minute subsequently the kitchen door slammed ” ( 111 ) . Mama notices these noises are Maggie ‘s manner of voicing her sentiment sing the comforters and suggests to Wangero that she take different comforters. But Wangero wants reliable, hand-stitched comforters ; comforters that her grandma made from old frocks. Wangero wishes to have another piece of her ain history to flash in her place, to demo her friends.
Mama promised to give Maggie the comforters Grandma made and owned. Through Mama ‘s eyes, the reader sees a glance into another aspect of Dee ‘s personality one time Mama tells Dee, “ The truth is… I promised to give them comforters to Maggie, for when she marries John Thomas ” ( 111 ) . Dee becomes angry ; “ ‘Maggie ca n’t appreciate these comforters! ‘ she said. A‘She ‘d likely be rearward plenty to set them to everyday usage ‘ ” ( 111 ) . Mama says “ ‘I hope she will! ‘ ” ( 112 ) and remembers a clip in which she had offered the same comforters to Dee when Dee left for college. But at that point in clip, Dee had told her “ they were antique, out of manner ” ( 112 ) . It merely so happens that now, Dee urgently wants these peculiar comforters. They are in manner at the minute and Dee wants them, she is by and large used to acquiring what she wants. Dee and Mama argue a small spot about what is to be done with the comforters.
While Dee and Mama argue, Maggie reappears and the “ feeble animate being ” mention is realized once more as Maggie tells Mama that Dee can hold the comforters. “ ‘I can A‘member Grandma Dee without the comforters ‘ ” ( 112 ) . As she said this, Mama states that she said it “ like person used to ne’er winning anything… This was Maggie ‘s part. This was the manner she knew God to work ” ( 112 ) . The reader, along with Mama, can non assist but commiseration and feel for Maggie at this occasion. Mama is subjected to a type of disclosure, like she experiences when she is in church. Where one time she would give Dee her slightest caprice, she now refuses. Mama gives Maggie the comforters, for her “ mundane usage. ”