Alice Walker
This story is distinctive, however, in that Walker stresses not only the importance of language but also the destructive effects of its misuse. Clearly, Dee privileges language over silence, as she demonstrates in her determination to be educated and in the importance she places on her name. Rather than providing a medium for newfound awareness and for community, however, verbal skill equips Dee to oppress and manipulate others and to isolate herself; when she lived at home, she read to her sister and mother "without pity; forcing words, lies, other folks' habits, whole lives upon us, sitting trapped and ignorant underneath her voice." Mama recalls that Dee "washed us in a river of make-believe, burned us with a lot of knowledge we didn't necessarily need to know. Pressed us to her with the serious way she read, to shove us away at just the moment, like dimwits, we seemed about to understand" (50). Dee uses words to wash, burn, press, and shove. We are told that the "nervous girls" and "furtive boys" whom she regarded as her friends "worshiped the well-turned phrase" and her "scalding humor that erupted like bubbles in lye" (51).
It is not surprising, then, that Mama, mistrustful of language, expresses herself in the climactic scene of the story not through words but through deeds: she hugs Maggie to her, drags her in the room where Dee sits holding the quilts, snatches the quilts from Dee, and dumps them into Maggie's lap. Only as an afterthought does she speak at all, telling Dee to "take one or two of the others." Mama's actions, not her words, silence the daughter who has, up to this point, used language to control others and separate herself from the community: Mama tells us that Dee turns and leaves the room "without a word" (59).
In much of Walker's work, a character's dawning sense of self is represented not only by the acquisition of an individual voice but also through integration into a community. Mama's new appreciation of Maggie is significant
It is not surprising, then, that Mama, mistrustful of language, expresses herself in the climactic scene of the story not through words but through deeds: she hugs Maggie to her, drags her in the room where Dee sits holding the quilts, snatches the quilts from Dee, and dumps them into Maggie's lap. Only as an afterthought does she speak at all, telling Dee to "take one or two of the others." Mama's actions, not her words, silence the daughter who has, up to this point, used language to control others and separate herself from the community: Mama tells us that Dee turns and leaves the room "without a word" (59).
In much of Walker's work, a character's dawning sense of self is represented not only by the acquisition of an individual voice but also through integration into a community. Mama's new appreciation of Maggie is significant