33 pages • 1 hour read
Alice WalkerA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In many cases, the dedication that precedes a work is simply an opportunity for the author to express love or gratitude to someone close to them. However, the dedication in “Everyday Use” is unconventional in that it functions more like an epigraph (a brief quotation intended to communicate something about the themes of the work that follows). By dedicating the story to “your grandmama,” Walker lays the groundwork for several of the work’s central ideas. For one, by addressing the reader directly and tying the story to the reader’s own family, Walker encourages them to understand the work not as a standalone piece but as a part of the reader’s own life. This is in keeping with Walker’s broader depiction of art as something that is (or should be) embedded in everyday existence. In addition, by dedicating the story to a “grandmama” who likely resembles Mrs. Johnson, Walker underscores the value of these women and the knowledge they bring to bear on discussions of black identity and heritage.
Walker uses dialect—the distinctive grammar, syntax, pronunciation, etc. of a regional, ethnic, or socioeconomic group—as a means of characterization. Although Mrs. Johnson’s narration largely follows the conventions of “standard” English, her dialogue more commonly conforms to Southern American English and/or African-American Vernacular; for example, she substitutes “them” for “these” when talking about giving “them quilts to Maggie” (Paragraph 64) and uses “was” as the catch-all past tense of the verb “to be” when she tells Dee, “you was named after your aunt Dicie” (Paragraph 28).
In capturing these speech patterns, Walker isn’t simply aiming for realism, but drawing a contrast between the narrator and her educated daughter. Dee probably grew up speaking a dialect similar to her mother’s but has since shed it in favor of standard English. Her exchanges with her mother underscore the fundamentally different attitudes each woman has to her identity as a southern, working-class black woman; although she embraces certain aspects of African-American identity, Dee is horribly embarrassed by much of her own family’s history, including the working-class life her mother leads.
A simile is a comparison that uses “like” or “as.” It is a subtype of metaphor in general, as well as one of the most commonly used literary devices, and it features especially prominently in “Everyday Use,” where Walker often uses it in the service of characterization. Here, for instance, is how she describes Dee’s hair: “It is black as night and around the edges are two long pigtails that rope about like small lizards disappearing behind her ears” (Paragraph 20). In linking Dee to a reptile, Walker hints that she may be somewhat cold-blooded.
Walker’s use of similes like this one are all the more striking given the fact that the story is narrated in the first person. Mrs. Johnson’s voice is conversational and colloquial—she addresses the reader directly, breaks off in the middle of thoughts, etc.—but it is also highly literary in its reliance on figurative language. This serves as a reminder that the narrator, though lacking in formal education, is intelligent and perceptive, and it encapsulates the story’s basic view of art as something that should be intertwined with ordinary day-to-day existence.
Zoomorphism is the opposite of anthropomorphism: instead of assigning human attributes to animals, objects, etc., it involves assigning animal-like attributes to humans. In “Everyday Use,” this device functions as part of a broader animal motif, which serves, among other things, as a reminder of the way in which black Americans have been systematically dehumanized. Perhaps the best example of this are the many descriptions of Maggie’s “shuffling” gait, which her mother initially likens to the movement of a wounded or skittish animal. The comparison is a measure of Maggie’s fear and the extent to which she has internalized a sense of herself as subhuman.
By Alice Walker