2 Everyday Use Student Text
Content
Before Reading
Everyday Use Short Story by Alice Walker VIDEO TRAILER
KEYWORD: HML10-48
What makes something VALUABLE ? The or! value "ea#$ !i%%ere#t thi#&$ to !i%%ere#t 'eo'le( )or e*a"'le+ a# ol! ,a$e "i&ht ha,e hi&h "o#etary ,ale or hi&h $e#ti"e#tal ,ale( To $o"e+ it "i&ht ha,e &reat hi$torical+ cltral+ READING 2C Relate the %i&rati,e la#&a&e o% o% aa literary ork to it$ hi$torical a#! cltral $etti#&(
5 Make i#%ere#ce$ abot ele"e#t$ o% %ictio#(
or arti$tic ,ale( .t other$ "i&ht thi#k it/$ a $ele$$ 'iece o% #k #k(( O%te# 'eo'le !i$a&ree o,er the ,ale they a$$i&# to a# obect( Or they "ay a&ree that it i$ ,alable+ bt #ot %or the $a"e rea$o#( 'recio$ $ 'o$$e$ 'o$$e$$io# $io# o% yor$ QUICKWRITE % yo col! $a,e o#ly o#e 'recio %ro" bei#& !e$troye! or le%t behi#!+ hat ol! yo $a,e2 Write a $hort 'ara&ra'h i!e#ti%yi#& the ite" a#! telli#& hy it i$ ,alable to yo(
literary
analysis: conflict
and
character
A $tory/$ 'lot 'ro&re 'ro&re$$e$ $$e$ beca$e o% a conflict or $tr&&le betee# o''o$i#& %orce$( # 3E,ery!ay $e+5 the "ai# co#%lict ce#ter$ aro#! to $i$ter$+ Dee a#! Ma&&ie+ a#! their "other+ ho #arrate$ the $tory( Altho-&h the "ai# co#%lict betee# the$e character$ i$ orke! ot i# the resol!tion o% the $tory+ $o"e other co#%lict$ li#&er -#re$ol,e!( A$ yo rea!+ 'ay atte#tio# to the co#%lict$ a#! hether they are re$ol,e!( Al$o thi#k abot the !i%%ere#ce$ i# the character$/ ,al-e$ a#! 'rioritie$( Review: "lot
readin#
s$ill:
%a$e
inferences
.eca$e riter$ !o#/t alay$ tell yo e,erythi#& yo #ee! to k#o abot a character+ yo "$t %a$e inferences or lo&ical &e$$e$+ ba$e! o# $tory !etail$ a#! yor o# e*'erie#ce$( )or e*a"'le+ yo "i&ht i#%er that the "other i# thi$ $tory 're%er$ the ot!oor$ %ro" her co""e#t 3A yar! like thi$ i$ "ore co"%ortable tha# "o$t 'eo'le k#o( t i$ like a# e*te#!e!
li,i#& roo"(5 A$ yo rea!+ #otice hat the character$/ or!$ a#! actio#$ tell yo abot their 'er $o#alitie$ a#! attit!e$( Take #ote$ o# a chart like the o#e $ ho#(
$hooti#& acci!e#t he# $he a$ ei&ht( She lo$t $i&ht i# o#e eye a#! ha! a !i$%i&ri#& $car that le%t her i#te#$ely $el%-co#$cio$( )or year$ a%terar!+ $he %elt like a# otca$t(
eet the Author Alice &al$er 'orn ()**
Travel Activis% and -a%e
A +!%'le ,tart
Alice Walker+ o#e o% o% A"erica/$ A"erica/$ "o$t !i$ti#&i$he! athor$+ co"e$ %ro" h"ble be&i##i#&$( She a$ the la$t o% ei&ht chil!re# bor# to $harecro''er$ Willie Lee a#! Mi##ie Talllah Walker( Tho&h "o#ey a$ $carce a#! li%e a$ har!+ Walker lo,e! the 6eor&ia co#try$i!e here $he &re '( Walker/$ chil!hoo! a$ $hattere! by a Dee
,tory Details
Inferences
thi#k$ orchi!$ are tacky %loer$
i$ 'rete#tio$
'ac$#ro!nd to the story
.a%a
.a##ie
voca'!lary
Walker took co"%ort i# rea!i#& a#! i# riti#& 'oetry( With her "other/$ e#cora&e"e#t+ $he !e,elo'e! her her tale#t tale#t %or %or riti#& riti#& a#! !i! ell i# $chool( She &ra!ate! at the hea! o% her hi&h her hi&h $chool cla$$ a#! recei,e! a colle&e $cholar$hi'( Dri#& colle&e+ $he beca"e i#,ol,e! i# the ci,il ri&ht$ "o,e"e#t a#! tra,ele! to A%rica a$ a# e*cha#&e $t!e#t( A%ter colle&e+ $he !e,ote! her$el% to riti#& a#! $ocial acti,i$"( She ha$ ritte# "ore tha# 70 70 book$+ book$+ i#cl!i#& The Color Purple, Purple, hich o# a lit9er ri9e i# 18;(
in
conte0t
)i&re ot the "ea#i#& o% each bol!%ace! or! %ro" the co#te*t( # yor Reader/Writer Notebook, rite a $e#te#ce that $ho$ yo-r -#!er$ta#!i#& o% each or!(
/lac$ "ride 3E,ery!ay $e5 take$ 'lace !ri#& the 1<0$+ he# "a#y A%rica# A"erica#$ ere !i$co,eri#& their herita&e( The 3black 3black 'ri!e5 'ri!e5 "o,e"e#t+ hich &re ot o% ci,il ri&ht$ ca"'ai&#$+ calle! 'o# A%rica# A"erica#$ to celebrate their A%rica# root$ a#! a%%ir" their cltral i!e#tity( Ma#y a!o'te! A%rica# clothi#&+ hair$tyle$+ a#! #a"e$> $o"e $t!ie! A%rica# la#&a&e$(
(1 $#eaky+ f!rtive beha,ior 21 #ee! ti"e to reco%ose a%ter yor otbr$t 31 acce't the clb/$ doctrine
A!thor Online
*1 re"e"ber yor herita#e he# yo lea,e ho"e
Go to thin$central1co% 1 KEYWORD: HML10-4
=o"'lete the acti,itie$ i# yo-r Reader4&riter Note'oo$1
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Alice &al$er
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Play Audio
U se I will wait for her in the yard that Maggie and I made so clean and wav y yesterdayy afternoon. A yard like this is more comfortable than most peo yesterda ple know. It is not just a yard. It is l ike an etended living room. !he 30 n the hard clay is swept clean as a "oor and the #ne sand around the edges li ned with tiny$ irregular grooves$ anyone can co 10 me and sit and look up into the elm tree and wait for the bree%es that never c ome inside the house. Maggie will be nervous until afte r her sister goes& she will stand h opelessly in corners$ homely and ashamed of th e burn scars down her arms and l egs$ eying her sister with a miture of envy and a 20 we. 'he thinks her sister has held life always in the palm of one hand$ that (no) is a word the world never learned to say to her. a *ou+ve no doubt seen those ,- sh *ou+ve ows where the child who has (ma de it) is
confronte mother and child embrace and smile into each other+s faces. 'o What ?alitie$ !o yo d$ as a metimes the a$$ociate ith the surprise$ mother and father weep$ the child wraps them in her arms and o"a# i# the 'ai#ti#&2 Ho clo$ely !oe$ $he by her o leans across the "atch the $tory/$ wn moth table to tell how she would not have made it without their help. narrator er and f I have seen ather$ to these programs. ttering i 'ometimes I dream a dream in which ee and I are suddenl a .A6E IN-ERENCE, Rerea! li#e$ @10( What n weakly y brought ca# yo i#%er abot from bac together on a ,- program of this sort. ut of a dark and soft Ma&&ie a#! her $i$ter kstage. seated limousine %ro" thi$ !e$cri'tio#2 A pleasa I am ushered into a bright room #lled with many people. ,here Which !etail$ le! to yor i#%ere#ce2 nt surpri I meet a se$ of co smiling$ gray$ sporty man like 4ohnny 5arson who shakes my h urse& !h and and tells at would me what a #ne girl I have. ,hen we are on the stage and ee is they do embracing me if parent with tears in her eyes. 'he pins on my dress a large orchid$ eve and chil n though she has d came told me once that she thinks orchids are tacky "owers. on the s In real life I am a large$ bigboned woman with rough$ man how only working hands. to curse In the winter I wear "annel nightgowns to bed and overalls dur out and ing the day. I insult ea can kill and clean a hog as mercilessly as a man. My fat keeps ch other me hot in %ero / n , weather. I can work outside all day$ breaking ice to get water fo Home Chores 1789$ 1789$ 4acob 4acob :awrence. r washing6 I can - ;ouache and graphite on paper$ eat pork liver cooked over the open #re minutes after it comes 27 < = > 21 < =. =. Anonymo Anonymous us gift. ,he steaming from @elsonAtkins Museum of Art$ Art$ ansas 5ity$ Missouri. B?7?. Choto by by 4amison 4amison the hog. ne winter I knocked a bull calf straight in the brain Miller D 200E ,he ,he 4acob 4acob and ;wendolyn between the 1
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unit 1& plot$ setting$ and mood
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:awrence Boundation$ 'eattle<Artists Fights 'ociety AF'$ @ew @ew *ork. *ork.
eyes with a sledge hammer and had the meat hung up to chill before nightfall. Gut of course all this does not show on television. I am the way my daughter would want me to be& a hundred pounds lighter$ my skin like an uncooked barley pancake. My hair glistens in the hot bright lights. 4ohnny 5arson has much to do to keep up with my Huick and witty tongue. Gut that is a mistake. I know even before I wake up. !ho ever knew a 4ohnson with a Huick tongue/ !ho can even imagine me looking a strange white man in the eye/ It seems to me I have talked to them always with one 80 foot raised in "ight$ with my head turned in whichever way is farthest from them. ee$ though. 'he would always look anyone in the eye. esitation was no part of her nature. ' ' .A6E IN-ERENCE,
(ow do I look$ Mama/) Maggie says$ showing just enough of her thin body enveloped in pink skirt and red blouse for me to know she+s the re$ almost hidden by the door.
Little Sweet 1788$ !illiam . 4ohnson. il on paperboard$ 2E= > 22=. 'mithsonian American Art American Art Museum$ !ashington$ .5. Choto D 'mithsonian 'mithsonian American American Art Art Museum$ !ashington$ .5.<Art Fesource$ @ew @ew *ork. *ork.
What !o yo i#%er abot Ma"a %ro" her !e$cri'tio# o% her$el%2 =ite $'eci%ic !etail$(
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unit 1& plot$ setting$ and mood
(5ome out into the yard$) I say. eLorts. er eyelids would ave you ever seen a lame animal$ perhaps a dog run over by some not "icker for minutes at careless a time. ften I fought oL person rich enough to own a car$ sidle up to someone who is ignorant the temptation to shake he enough r. At siteen she had a sty to be kind to him/ ,hat is the way my Maggie walks. 'he has been lik le of her own& and knew e this$ what style was. c chin on chest$ eyes on ground$ feet in shuKe$ ever since the #re that burned I never had an education the other house to the ground. myself. After second grade ee is lighter than Maggie$ with nicer hair and a fuller #gure. 'he+s the school was closed a down. on+t ask me why& woman now$ though sometimes I forget. ow long ago was it that the in 172J colored asked fe other wer Huestions than they house burned/ ,en$ twelve years/ 'ometimes I can still hear the "ames do now. 'ometimes Magg and feel ie reads to me. 'he stum Maggie+s arms sticking to me$ her hair smoking and her dress falling o bles along goodnaturedly L her but can+t see well. 'he kn in little black papery "akes. er eyes seemed stretched open$ bla%ed o ows she is not bright. :ik pen by e good looks and money$ the "ames re"ected in them. And ee. I see her standing oL under th Huickness passed her by by.. e sweet 'he will marry 4ohn ,hom gum tree she used to dig gum out of6 a look of concentration on her fa as who has mossy teeth ce as she in an earnest face and th watched the last dingy gray board of the house fall in toward the red en I+ll be free to sit here hot brick and I guess just sing chur chimney. !hy don+t you do a dance around the ashes/ I+d wanted to as ch k her. songs to myself. Although 'he had hated the house that much. I never was a good singer I used to think she hated Maggie$ too. Gut that was before we raised . @ever could carry a tun the e. money$ the church and me$ to send her to Augusta1 to school. 'he used I was always better at a m to read an+s job. I used to love to to us without pity6 forcing words$ lies$ other folks+ habits$ whole lives milk till I was hooked in upon us the side in +87. 5ows are two$ sitting trapped and ignorant underneath her voice. 'he washed u soothing and slow and do s in a n+t bother you$ unless you river of makebelieve$ burned us with a lot of knowledge we didn+t ne try to milk them the wro cessarily ng way. need to know. Cressed us to her with the serious way she read$ to shove I have deliberately turne us away d my back on the house. at just the moment$ like dimwits$ we seemed about to understand. It is three rooms$ just like ee wanted nice things. A yellow organdy dress to wear to her gra the one that burned$ ece duation pt the roof is tin6 they do from high school6 black pumps to match a green suit she+d made from n+t make shingle roofs any an old more. ,here are no real suit somebody gave me. 'he was determined to stare down any disast windows$ just some holes er in her cut in the sides$ like the
portholes in a ship $ but not round an d not sH uare$ wit h rawhid e holding the 1(
A!#!sta:
a city i# 6eor&ia(
c
Language Coach
CON-LICT Rerea! li#e$ B7@4( What co#%lict$ e*i$t betee# Dee a#! her her "other "other a#! $i$ter2
Infor%al lan#!a#e Rerea! the 'ara&ra'h that be&i#$ ith li#e B7( Walker $e$ $e#te#ce %ra&"e#t$ $ch a$ 3Te#+ tel,e year$25 a#! 3A#! Dee(5 to create a# i#%or"al to#e( What other %ra&"e#t$ !o yo $ee o# thi$ thi$ 'a&e2 'a&e2 CHi#t: look %or $e#te#ce$ that lack either a $bect or a ,erb(
everyday use
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shutters up on the outside. ,his house is in a pasture$ too$ like the other one. 70 @o doubt when ee sees it she will want to tear it down. 'he wrote me once that no matter where we (choose) to live$ she will manage to come see us. Gut she will never bring her friends. Maggie and I thought about this and Maggie asked me$ (Mama$ when did ee ever have any friends/) 'he had a few. Furtive boys in pink shirts hanging about on was f!rtive %Frt6,G adj. $#eaky+ $ecreti,e hday after school. @ervous girls who never laughed. Impressed with her they reco%ose r=kE"-'9G worshiped v. to re$tore to cal"+ to the wellturned phrase$ the cute shape$ the scalding humor that er $ettle a&ai# upted like bubbles in lye. 'he read to them. !hen she was courting 4immy , she didn+t have much time to pay to us$ but turned all her fault#nding power on him. e few to marry a cheap city girl from 100a family of ignorant "ashy people. 'he hardly had time to recompo d .A6E IN-ERENCE, se herself. d It is hard to see !hen she comes I will meetbut there they areN them clearly throug Maggie attempts to make a dash for the house$ in her shuKing w h the strong sun. G ay$$ but I ay ut even the #rst stay her with my hand. (5ome back here$) I say. And she stops and tries to dig a well in the sand with her toe.
glimpse of leg out of the car tells me it is ee. er feet were alwa What !o yo lear# abot Dee %ro" the ay other$ ys neat re$'o#! to her2 looking$ as if ;od himself had shaped them with a certain style. Br om the other side of the car comes a short$ stocky man. air is all over his head a foot long and hanging from his chin like a kinky mule tail. I hear Maggi e suck in 110her breath. (Ohnnnh$) is what it sounds like. :ike when you see the wriggling end of a snake just in front of your foot on the road. (Ohnnnh.) TE6, 2C ee net. A dress down to the ground$ in this hot weather. A dr ess so loud e -IGURATIVE it hurts my eyes. ,here are yellows and oranges enough to throw LANGUAGE -i#!rative lan#!a#e back the light i$ la#&-a&e that of the sun. I feel my whole face warming from the heat waves it co""#icate$ throws out. "ea#i#&$ beyo#! the Parrings gold$ too$ and hanging down to her shoulders. Gracelet literal "ea#i#&$ o% the s dangling and or!$( Rerea! Ma"a/$ making noises when she moves her arm up to shake the folds of t he dress out of her armpits. ,he dress is loose and "ows$ and as she walks clo ser$ I like it. I hear Maggie go (Ohnnnh) again. It is her sister+s hair. It stands straight up like the wool on a sheep. It is black as night and around the edge s are two long !e$cri'tio# o% o% Dee/$ Dee/$ hair+ 120pigtails that rope about like small li%ards disappearing behind her hich be&i#$ o# li#e ears. e 118( Ob,io$ly+ Dee/$ hair (!asu%o,eanoN) she says$ coming on in that gliding way the dre !oe$ #ot literally "o,e ss makes like li9ar!$( Here a#! her move. ,he short stocky fellow with the hair to his navel is all gr inning and he follows up with (Asalamalakim$ 2 my mother and sisterN) e moves to other 'lace$+ 'lace$+ Ma"a hug Maggie but she falls back$ right up against the back of my chaii# other e,oke$ i"a&e$ %ro" her r. I feel her trembling there and when I look up I see the perspiration falling o li%e $'e#t o# a %ar"( Her %i&-rati,e la#&-a&e o%te# L her chin. re%lect$ the hi$torical (on+t get up$) says ee. 'ince I am stout it takes something of a#! cltral $etti#& o% the $tory( What other a push. *ou * ou can see me trying to move a second or two before I make it. 'h e turns$ showing white heels through her sandals$ and goes back to the car. ut she peeks net with a Colaroid. 'he stoops down Huickly and lines up picture after 130picture of me sitting there in front of the house with Maggie coweri e*a"'le$ o% %i&rati,e la#&a&e ca# yo %i#!2 ng behind me. 'he never takes a shot without making sure the house is includ ed. !hen 7( &a8s!89o8Tean8o I-$L9-t=#G 1 1 1
Asala%ala$i% E-$.lE-"E-l.kE"G: A%rica# a#! Arabic &reeti#&$(
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unit 1& plot$ setting$ and mood
=o#tra$t the $tyle a#! $-b0ect o% thi$ 'ai#ti#& ith tho$e o% the o#e o# 'a&e B7( Doe$ the co#tra$t re%lect the !i%%ere#ce$ betee# the $i$ter$ i# the $tory2 E*'lai#(
is my sister. 'he named ee. !e called her (Gig e e) after ee was born. (Gut who was she name d after/) asked !angero. (I guess after ;randma a cow comes nibbling around the edge of the yard she snaps it and m ee$) I said. (And who was she name e and d after/) asked !angero. Maggie and the house. ,hen she puts the Colaroid in the back seat of the car$ and comes up and kisses me on the forehead. f ;( &an#ero Lee;ani$a 6e%an<o I#Meanwhile Asalamalakim is going through motions with Maggie+s &Jr l=-I-#=kE kD-"I#G( hand. Maggie+s hand is as limp as a #sh$ and probably as cold$ despite the s 180 weat$ and she keeps trying to pull it back. It looks like Asalamalakim wants to shake hands but wants to do it fancy. r maybe he don+t know how people s hake hands. Anyhow Anyhow$$ he soon gives up on Maggie. (!ell$) I say. (ee.) (@o$ Mama$) she says. (@ot Qee$+ !angero :eewanika emanjoN) 3 (!hat happened to Qee+/) I wanted to know. ('he+s dead$) !angero said. (I couldn+t bear it any longer$ being na med after the people who oppress me.) (*ou know as well as me you was named after your aunt icie$) I s aid. icie
Portrait of a Art Fesource$ @ew @ew *o *ork. rk. woman with g olden headscarf 1 700+s$ Attribu 700+s$ Attributt ed to :o Gabacar. Cikine$ 'enegal. f GRA..AR AN AND D ,T=LE ;lass Rerea! li#e$ 1;11;4( painting. Inv Kotice ho Walker .&A.78.8.33 Mu a!!$ !e$cri'ti,e !etail$ sRe des Arts des Arts d+Af thro&h the $e o% riHue et d+cean reositional hrases ie$ $ch a$ 3aro#! the e!&e Caris. Choto D Arnaude Arnaudet< t< o% the yar!+53i# the the back back FRunion des $eat o% the car+5 a#! 3o# MusRes @ationa the %orehea!(5 u<
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(er mother$) I said$ and saw !angero was getting tired. (,hat+s about as far back as I can trace it$) I said. ,hough$ in fact$ I probably cou # CON-LICT ld have carried What i$ ca$i#& te#$io# it back beyond the 5ivil !ar through the branches. # betee# Dee a#! Ma"a2 (!ell$) said Asalamala Asalamalakim$ kim$ (there you are.) (Ohnnnh$) I heard Maggie say. (,here I was not$) I said$ (before Qicie+ cropped up in our fam ily$ so why should I try to trace it that far back/) e just stood there grinning$ looking down on me like somebo dy inspecting a Model A 8 car. Pvery once in a while he and !angero sent eye s ignals over my head. 1?0 (ow do you pronounce this name/) I asked. (*ou don+t have to call me by it if you don+t want to$) said !angero. (!hy shouldn+t I/) I asked. (If that+s what you want us to call you$ we+ll call you.) (I know it might sound awkward at #rst$) said !angero. (I+ll get used to it$) I said. (Feam it out again.) !ell$ soon we got the name out of the way. Asalamalakim had a name twice as long and three times as hard. After I tripped over it two or three times he told me to just call him akimabarber. 9 I wanted to ask him was he a barber$ but I didn+t really think he was$ so I didn+t ask. 1J0 (*ou must belong to those beefcattle peoples down the road$) I said. ,hey raising cattle is not said (Asalamalakim) when they met you$ too$ but they didn+t shake my style.) ,hey di hands. dn+t tell me$ and I Always too busy& feeding the cattle$ #ing the fences$ putting up s didn+t ask$ whether altlick !angero ee had shelters$ throwing down hay. !hen the white folks poisoned some really gone and m of the herd arried him. the men stayed up all night with ri"es in their hands. I walked a m !e sat down to ile and a eat and right away half just to see the sight. he said he didn+t e akimabarber said$ (I accept some of their doctrines, but far at collards and por ming and k 190
doctrine !ktr6#G n. a $et o% rle$+ belie%$+ or ,ale$ hel! by a &ro' 1E0was
unclean. !angero$ though$ went on through the chitlins and corn bread$ the greens and everything else. 'he talked a blue streak over the sweet potatoes. Pverything delighted her. Pven the fact that we still used the benches her daddy made for the table when we couldn+t aLord to buy chairs. (h$ MamaN) she cried. ,hen turned to akimabarber. (I never knew how lovely these benches are. * *ou ou can feel the rump prints$) she said$ running her hands underneath her and along the bench. ,hen she gave a sigh and her hand closed over ;randma ee+s butter dish. (,hat+s itN) she said. (I knew there was something I wanted to ask you if I could have.) 'he jumped up from the table and went over in the corner where the churn stood$ the milk in it ? 170clabber by now. 'he looked at the churn and looked at it.
4( .odel A: a# ato"obile "a#%actre! by )or! %ro" 17@ to 1;1( B( +a$i%8a8'ar'er hI-k="E-bIrbErG (
<( cla''er: cr!le! "ilk(
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(,his churn top is what I need$) she said. (idn+t Oncle Guddy whittle it out of a tree you all used t o have/) (*es$) I said. (Oh huh$) she said happ ily. (And I want the dasher $J too.) (Oncle Guddy whittle th at$ too/) asked the barber . ee !angero looked u p at me. (Aunt ee+s #rst husban d whittled the dash$) said Maggie so low you almost couldn+t hear her. (is na me was enry$ but they c alled him 'tash.) (Maggie+s brain is like a n elephant+s$) !angero sai d$ laughing. (I can use th e churn top as a centerpiece for the alcove table$) she s aid$ sliding a plate over
the churn$ that grew in the yard where Gig ee and 'tash had lived. (and I+ll After dinner ee !angero went to the trunk at the foot of my be think of s d and omething started ri"ing through it. Maggie hung back in the kitchen over the artistic to dishpan. do with t ut came !angero with two Huilts. ,hey had been pieced by ;rand he dasher.ma ee and then Gig ee and me had hung them on the Huilt frames on the f )h !hen s ront he #nishe porch and Huilted them. ne was in the :one 'tar pattern. ,he other h d wrappin was g the das !alk Around the Mountain. In both of them were scraps of dresses her the h ;randma andle stuc ee had worn #fty and more years ago. Gits and pieces of ;randpa 4 k out. I t arrell+s ook it for Caisley shirts. And one teeny faded blue piece$ about the si%e of a pe a moment nny in my han matchbo$ that was from ;reat ;randpa P%ra+s uniform that he wore i ds. * *ou ou di n the dn+t even 5ivil !ar. have to lo (Mama$) !angero said sweet as a bird. (5an I have these old Huilt ok close t s/) o see whe I heard something fall in the kitchen$ and a minute later the kitch re hands en door pushing thslammed. i e dasher (!hy don+t you take one or two of the others/) I asked. (,hese old up and do things wn to ma was just done by me and Gig ee from some tops your grandma piec ke butter ed before i had left a she died.) kind of si (@o$) said !angero. (I don+t want those. ,hey are stitched around nk in the the wood. In f borders by machine.) act$ there (,hat+ll make them last better$) I said. were a lot (,hat+s not the point$) said !angero. (,hese are all pieces of dress of small es sinks6 you ;randma used to wear. 'he did all this stitching by hand. ImagineN) could see 'he held where thu the Huilts securely in her arms$ stroking them. mbs and ('ome of the pieces$ like those lavender ones$ come from old clothe #ngers ha s her d sunk in mother handed down to her$) I said$ moving up to touch the Huilts. to the wo ee od. It was!angero moved back just enough so that I couldn+t reach the Huilts beautiful . ,hey light yello already belonged to her. w wood$ f (ImagineN) she breathed again$ clutching them closely to her boso rom a tre m. e @(
dasher: the the 'l#&e 'l#&er r o% o% aa chr#+ a !e,ice %or"erly $e! to $tir $tir crea" crea" or "ilk to to 'ro!c 'ro!cee btter(
.A6E IN-ERENCE, Rerea! li#e$ 11701( What !o yo lear# abot Dee a#! Ma&&ie i# the$e li#e$2
.A6E IN-ERENCE, What "i&ht the$e #oi$e$ "ea#2
everyday use
5?
1EE31E73$ -ictoriene -ictoriene Carsons Mitchell. ,etile. 179.? cm 1?3.2 cm. D Indianapolis Museum of Art< Art< Crazy Quilt 1EE31E73$ Crazy Quilt Gridgeman Art :ibrary.
(,he truth is$) I said$ (I promised to give them Huilts to Maggie$ for when she marries 4ohn ,homas.) 'he gasped like a bee had stung her. (Maggie can+t appreciate these HuiltsN) she said. ('he+d probably be backward enough to put them to everyday use.) 280 (I reckon she would$) I said. (;od knows I been saving +em for long enough with nobody using +em. I hope she willN) I didn+t want to bring up how I had oLered ee !angero a Huilt when she went away to college. ,hen she had told me they were oldfashioned$ out of style.
5@
unit 1& plot$ setting$ and mood
(Gut they+re pricelessN) she was saying now$ furiously6 for she has new day for us. Gut from a temper. the way you and Mama sti (Maggie would put them on the bed and in #ve years they+d be in rag ll live you+d never s. :ess know it.) l 290 than thatN) 'he put on some sungla ('he can always make some more$) I said. (Maggie knows how to sses that hide everything a Huilt.) bove the tip of her nose ee !angero looked at me with hatred. (*ou just will not unders and her chin. tand. Maggie smiled6 maybe a ,he point is these Huilts$ these HuiltsN) t the sunglasses. Gut a re (!ell$) I said$ stumped. (!hat would you do with them/) al smile$ not scared. After (ang them$) she said. As if that was the only thing you could do we watched the car dust s with ettle I asked Maggie to bri Huilts. < ng me a dip of snuL. And 2?0 Maggie by now was standing in the door. I could almost hear the s then the two of us sat the ound her re just enjoying$ until it w feet made as they scraped over each other. as time to go in the house ('he can have them$ Mama$) she said$ like somebody used to neve and go to bed. r winning anything$ or having anything reserved for her. (I can +member ;rand ma ee without the Huilts.) I looked at her hard. 'he had #lled her bottom lip with checkerber ry snuL 2J0 and it gave her face a kind of dopey$ hangdog look. It was ;randma ee and Gig ee who taught her how to Huilt herself. 'he stood there with he r scarred hands hidden in the folds of her skirt. 'he looked at her sister with s omething like fear but she wasn+t mad at her. ,his was Maggie+s portion. ,his w as the way she knew ;od to work. !hen I looked at her like that something hit me in the top of my h 2E0 ead and ran down to the soles of my feet. 4ust like when I+m in church and the spirit of ;od touches me and I get happy and shout. I did something I never had done before& hugged Maggie to me$ then dragged her on into the room$ sn atched the Huilts out of Miss !angero+s hands and dumped them into Maggi e+s lap. Maggie just sat there on my bed with her mouth open. $ (,ake one or two of the others$) I said to ee. Gut she turned without a word and went out to akimabarber. (*ou just don+t understand$) she said$ as Maggie and I came out to the car. (!hat don+t I understand/) I wanted to know. (*our heritage,) she said. And then she turned to Maggie$ kissed h er$$ and er said$ (*ou ought to try to make something of yourself yourself$$ too$ Maggie. It+
to ha,e the ?ilt$2 $
"LOT Thi$ 'oi#t i$ the cli%a0 Thi$ 'oi#t o% the $tory( Ho i$ the "ai# co#%lict re$ol,e!2 herita#e hDr6-t6G n.
<
$o"ethi#& 'a$$e! !o# thro-&h &e#eratio#$+ $ch a$ tra!itio#+ ,ale$+ 'ro'erty
CON-LICT
Rerea! li#e$ 7;87B7( Why !oe$#/t Dee a#t Ma&&ie
l
CON-LICT Ho !oe$ Dee ,ie her "other a#! $i$ter2
Well, everyday use 5)
Reading for Information INTERVIE& E*cer'te! i$ a 17 i#ter,ie Walker &a,e to Rola#! R( )ree"a# %or hi$
book A Communion of the Spirits: Afrian!Amerian "uilters, Preservers, and Their Stories.
Alice &al$er on "uiltin# my mother was a Huilter$ and I remember many$ many afternoons of my m other and the neighborhood women sitting on th e
porch around the Huilting frame$ Huilting and talking$ you know6 getting up to stir some thing on the stove and coming back and sitting down. My mother also had a frame inside the house. 'ometimes during the winter she would Huilt
Huilts. Ciecing . . . I+m really more of a piecer$ actually$ than I am a Huilter$ because I can get as far as piecing all of the little sHuares or sections together$ and sometimes putting them together into big blocks$ but then I always have to call in helpspreading it out on the frame$ or spreading it out on the "oor and putting the
,his yellow and black fabric I bought when I was in Oganda$ and I had a beautiful dress made of it that I wore and wore and wore and eventually I couldn+t wear it any more6 partly I had worn it out and also I was pregnant$ so it didn+t #t$ and I used that and I used the red and white and black$ which was a long$ "oor length dress that I had when I was pregnant with my daughter$ Febecca$ who is now twentythree. I took these things apart or I used scraps. I put them together in this Huilt$ because it just seemed perfect. Mississippi was full of political and social struggle$ and regular Huilts were all African American with emphasis on being here in the Onited 'tates. Gut because of the African consciousness that was being raised and the way
batting in and doin Alice Walker a"o#& her "a#y ?ilt$ that we were all wearing g our hair in naturals and the actual Huilting. S,he #rst HuiltT I worked on SwasT the In wearing all of these Africa African n dresses$ I felt the need :ove to blend these two traditions. 'o it+s a Huilt of and ,rouble Huilt. And I did that one when great memory and importance to me. I use it a lot I was and that+s why it+s so worn. living in Mississippi. It was during a perio d when we were wearing Africaninspired dresses. ' o all of the pieces are from dresses that I actually wore.
>7
unit 1U&plot$ setting$ and mood
After Reading
21 Recall Why !oe$ Dee a#t the ?ilt$2
Co%2rehension
unit title (1 Recall Ho ha$ Dee cha#&e! he# $he arri,e$ to $ee her %a"ily2
31 Recall Who &et$ the ?ilt$ at the e#! o% the $tory2
*1 ,!%%ari9e Why !oe$ Dee thi#k Ma"a a#! Ma&&ie !o#/t #!er$ta#! their herita&e2
Literary Analysis 'o$iti,ee a#! 51 .a$e Inferences Re,ie the #ote$ yo took a$ yo rea!( What 'o$iti, #e&ati,e trait$ !oe$ each character ha,e2
READING 5 Make i#%ere#ce$ abot the ele"e#t$ o% %ictio#(
>1 Co%are and Contrast What "ake$ the ?ilt$ ,alable to Dee+ a#! hat "ake$ the" ,alable to Ma&&ie2 =ite e,i!e#ce( ?1 Analy9e "lot Rerea! li#e$ 7<47<( E*'lai# hy Ma"a "ake$ the choice $he !oe$ at the cli%a0 o% the $tory( Ho !oe$ $he %eel abot her choice2 @1 Analy9e Conflict $e the chart $ho# to e*'lore the ,ario$ ay$ that Dee i$ i# co#%lict ith her %a"ily( Which co#%lict$ are re$ol,e! a#! hich are #ot2
a#t$ ?ilt$
a#t Ma&&ie to ha,e ?ilt$ .a%a
Dee
.a##ie
)1 Interret The%e What !o yo thi#k Alice Walker i$ $ayi#& i# 3E,ery!ay $e5 abo-t the #at-re o% herita&e2 S-''ort yo-r a#$er(
(71 ,ynthesi9e Ho !o Walker/$ co""e#t$ abot ?ilti#& o# 'a&e <0 a%%ect yor #!er$ta#!i#& o% 3E,ery!ay $e52
Literary Criticis% ((1 +istorical Conte0t The $tory take$ 'lace i# the late 1<0$+ a ti"e o% &roi#& cltral aare#e$$ %or A%rica# A"erica#$( % the $tory ere $et i# the 're$e#t+ ol! the co#%lict$ ithi# the %a"ily be !i%%ere#t2 E*'lai# yor a#$er(
What
makes
something
VALUABLE?
Why "i&ht 'eo'le !i$a&ree o,er hy a# obect i$ ,alable2
everyday use >(
Voca'!lary in Conte0t voca'!lary
ractice
Write True or $alse %or each $tate"e#t(
beha,ior(( (1 S#eaki#& aro#! i$ a# e*a"'le o% f!rtive beha,ior
word list 21 Whe# yo reco%o se a%ter a tra%%ic acci!e
#t+ yo beco"e "ore a&itate!( 31 To belie,e i# a certai# &ro'/$ doctrine i$ to %ollo their $et rle$(
*1 % yo !e#y yor herita#e yo re%$e to ack#ole!&e yor cltral hi$tory(
!octri#e
%-rti,e herita&e
reco"'o$e
acade%ic N a%%ec t
voca'!lary N co co"" ""-# -#iica cate te
in
;ritin#
N !e%i# it ite
N e$ e$ttab ablli$ i$h h
N i!e#ti%y
A#aly9e ho Dee a#! Ma&&ie co%%!nicate their tho&ht$ a#! %eeli#&$ i# thi$ $tory( Kotice both ,erbal co""#icatio# hat they $ay+ ho they $ay itG a#! #o#,erbal co""#icatio# their %acial e*'re$$io#$+ &e$tre$+ a#! bo!y la#&a&eG( Write o#e or to 'ara&ra'h$ to $hare yor %i#!i#&$( $e at lea$t o#e Aca!e"ic ocablary or! i# yor !i$c$$io#(
voca'!lary
strate#y: the
2refi0
re8
The ,ocablary or! reompose co#tai#$ the Lati# 're%i* re!, hich "ea#$ 3a&ai#5 or or 3back(5 3back(5 Thi$ 're%i* i$ %o#! i# a #"ber o% E#&li$h or!$( To #!er$ta#! the "ea#i#& o% or!$ ith re!, $e yor k#ole!&e o% the ba$e or! a$ ell a$ yor k#ole!&e o% the 're%i* 're%i*((
(E $e a !ictio#ary to !eter"i#e or co#%ir" the "ea#i#&$ o% o% or!$( or!$(
re'oot re 'oot
reco%2ose re co%2ose
READING (A Deter"i#e the "ea#i#& o% o% or!$ or!$ !eri,e! %ro" Lati# a%%i*e$(
re8 recall re call
reaffir% re affir% revie; re vie;
PRACTICE Write the or! %ro" the or! eb that be$t co"'lete$ each $e#te#ce( $e co#te*t cle$ to hel' yo or+ i% #ece$$ary+ co#$lt a !ictio#ary(
(1 To celebrate their a##i,er$ary+ the co'le !eci!e! to PPPPPPP their "arria&e ,o$( 21 She trie! to PPPPPPPP her$el% a%ter her har$h $col!i#&(
>2
Yo #ee! to PPPPPPPP the co"'ter a%ter i#$talli#& #e $o%tare( 31 Yo
Interactive Voca'!lary
*1 The toy co"'a#y i$$e! a PPPPPPPP o# a toy trck ith !a#&ero$ 'art$(
Go to thin$central1co% thin$central1co%11
51 .e $re to PPPPPPPP yor 'a'er %or $'elli#& "i$take$ be%ore $b"itti#& it(
KEYWORD: HML10-<7
unit 1& plot$ setting$ and mood
Conventions in &ritin# #ra%%ar and style:
Add Descritive Details
Re,ie the Gra%%ar and ,tyle #ote o# 'a&e BB( .y i#cor'orati#& reositional hrases i#to yor riti#&+ a$ Alice Walker !oe$+ yo ca# a!! i"'orta#t !etail$ that $ho %hat, %hen, %here, a#! ho% e,e#t$ are taki#& 'lace( Here i$ a# e*a"'le %ro" the $tory( After dinner &ee 'Wan#ero( %ent to the trunk at the foot of m) bed and start started ed
Wan#ero %ith t%o uilts. The) had been p ieed b) -randma &ee and then i# &ee and me had hun# them on the uilt frames fram es on the fro front nt por h and uilted
them. li#e$ 708717G See ho the re,i$io#$ i# ble a!! i"'orta#t !e$cri'ti,e !etail$ to thi$ %ir$t !ra%t( Re,i$e yor o# riti#& by $i#& the$e tech#i?e$( &RITING (*A Write a# e#&a&i#& $tory ith i#tere$ti#& a#! belie,able character$(
(? #!er$ta#! the %#ctio# a#! $e the co#,e#tio#$ o% aca!e"ic la#&-a&e(
st!dent %odel
o# the cheek
Mama walks over to ee and gives her a kiss. ee f rowns and ith a ha#!kerchie%
at Ma"a
o# the be#ch
wipes oL the kiss. 'he crosses the room and sits down heavily.
readin#8;ritin# =OUR
connection
Dee'e# yor #!er$ta#!i#& o% 3E,ery!ay $e5 by re$'o#!i#& to thi$ 'ro"'t 'ro"'t(( The# $e the revisin# ti to i"'ro,e yor riti#&(
TURN
;ritin# 2ro%2t
revisin# ti2
E0tended Resonse: &rite a ,tory ,e!el
Re,ie yor re$'o#$e(
"a&i#e that Dee ,i$it$ the %a"ily a&ai# te# year$
Ho ha,e yo $e!
a%ter the e,e#t$ i# 3E,ery!ay $e(5 Write one a#e
're'o$itio#al 'hra$e$
$hoi#& hat $he+ Ma"a+ a#! Ma&&ie are #o like
that $ho %hat, %hen,
a#! ho they i#teract( What co#%lict$ betee#
%here, a#! ho% e,e#t$
the" are $till #re$ol,e!2
take 'lace i# yor $tory
Interactive Revision
$e?-el2
Go to thin$central1co% thin$central1co%11 KEYWORD: HML10-<;
everyday use >3
Everyday Use Short Story by Alice Walker VIDEO TRAILER
KEYWORD: HML10-48
What makes something VALUABLE ? The or! value "ea#$ !i%%ere#t thi#&$ to !i%%ere#t 'eo'le( )or e*a"'le+ a# ol! ,a$e "i&ht ha,e hi&h "o#etary ,ale or hi&h $e#ti"e#tal ,ale( To $o"e+ it "i&ht ha,e &reat hi$torical+ cltral+ READING 2C Relate the %i&rati,e la#&a&e o% o% aa literary ork to it$ hi$torical a#! cltral $etti#&(
5 Make i#%ere#ce$ abot ele"e#t$ o% %ictio#(
or arti$tic ,ale( .t other$ "i&ht thi#k it/$ a $ele$$ 'iece o% #k #k(( O%te# 'eo'le !i$a&ree o,er the ,ale they a$$i&# to a# obect( Or they "ay a&ree that it i$ ,alable+ bt #ot %or the $a"e rea$o#( 'recio$ $ 'o$$e$ 'o$$e$$io# $io# o% yor$ QUICKWRITE % yo col! $a,e o#ly o#e 'recio %ro" bei#& !e$troye! or le%t behi#!+ hat ol! yo $a,e2 Write a $hort 'ara&ra'h i!e#ti%yi#& the ite" a#! telli#& hy it i$ ,alable to yo(
literary
analysis: conflict
and
character
A $tory/$ 'lot 'ro&re 'ro&re$$e$ $$e$ beca$e o% a conflict or $tr&&le betee# o''o$i#& %orce$( # 3E,ery!ay $e+5 the "ai# co#%lict ce#ter$ aro#! to $i$ter$+ Dee a#! Ma&&ie+ a#! their "other+ ho #arrate$ the $tory( Altho-&h the "ai# co#%lict betee# the$e character$ i$ orke! ot i# the resol!tion o% the $tory+ $o"e other co#%lict$ li#&er -#re$ol,e!( A$ yo rea!+ 'ay atte#tio# to the co#%lict$ a#! hether they are re$ol,e!( Al$o thi#k abot the !i%%ere#ce$ i# the character$/ ,al-e$ a#! 'rioritie$( Review: "lot
readin#
s$ill:
%a$e
inferences
.eca$e riter$ !o#/t alay$ tell yo e,erythi#& yo #ee! to k#o abot a character+ yo "$t %a$e inferences or lo&ical &e$$e$+ ba$e! o# $tory !etail$ a#! yor o# e*'erie#ce$( )or e*a"'le+ yo "i&ht i#%er that the "other i# thi$ $tory 're%er$ the ot!oor$ %ro" her co""e#t 3A yar! like thi$ i$ "ore co"%ortable tha# "o$t 'eo'le k#o( t i$ like a# e*te#!e!
li,i#& roo"(5 A$ yo rea!+ #otice hat the character$/ or!$ a#! actio#$ tell yo abot their 'er $o#alitie$ a#! attit!e$( Take #ote$ o# a chart like the o#e $ ho#(
$hooti#& acci!e#t he# $he a$ ei&ht( She lo$t $i&ht i# o#e eye a#! ha! a !i$%i&ri#& $car that le%t her i#te#$ely $el%-co#$cio$( )or year$ a%terar!+ $he %elt like a# otca$t(
eet the Author Alice &al$er 'orn ()**
Travel Activis% and -a%e
A +!%'le ,tart
Alice Walker+ o#e o% o% A"erica/$ A"erica/$ "o$t !i$ti#&i$he! athor$+ co"e$ %ro" h"ble be&i##i#&$( She a$ the la$t o% ei&ht chil!re# bor# to $harecro''er$ Willie Lee a#! Mi##ie Talllah Walker( Tho&h "o#ey a$ $carce a#! li%e a$ har!+ Walker lo,e! the 6eor&ia co#try$i!e here $he &re '( Walker/$ chil!hoo! a$ $hattere! by a Dee
,tory Details
Inferences
thi#k$ orchi!$ are tacky %loer$
i$ 'rete#tio$
'ac$#ro!nd to the story
.a%a
.a##ie
voca'!lary
Walker took co"%ort i# rea!i#& a#! i# riti#& 'oetry( With her "other/$ e#cora&e"e#t+ $he !e,elo'e! her her tale#t tale#t %or %or riti#& riti#& a#! !i! ell i# $chool( She &ra!ate! at the hea! o% her hi&h her hi&h $chool cla$$ a#! recei,e! a colle&e $cholar$hi'( Dri#& colle&e+ $he beca"e i#,ol,e! i# the ci,il ri&ht$ "o,e"e#t a#! tra,ele! to A%rica a$ a# e*cha#&e $t!e#t( A%ter colle&e+ $he !e,ote! her$el% to riti#& a#! $ocial acti,i$"( She ha$ ritte# "ore tha# 70 70 book$+ book$+ i#cl!i#& The Color Purple, Purple, hich o# a lit9er ri9e i# 18;(
in
conte0t
)i&re ot the "ea#i#& o% each bol!%ace! or! %ro" the co#te*t( # yor Reader/Writer Notebook, rite a $e#te#ce that $ho$ yo-r -#!er$ta#!i#& o% each or!(
/lac$ "ride 3E,ery!ay $e5 take$ 'lace !ri#& the 1<0$+ he# "a#y A%rica# A"erica#$ ere !i$co,eri#& their herita&e( The 3black 3black 'ri!e5 'ri!e5 "o,e"e#t+ hich &re ot o% ci,il ri&ht$ ca"'ai&#$+ calle! 'o# A%rica# A"erica#$ to celebrate their A%rica# root$ a#! a%%ir" their cltral i!e#tity( Ma#y a!o'te! A%rica# clothi#&+ hair$tyle$+ a#! #a"e$> $o"e $t!ie! A%rica# la#&a&e$(
(1 $#eaky+ f!rtive beha,ior 21 #ee! ti"e to reco%ose a%ter yor otbr$t 31 acce't the clb/$ doctrine
A!thor Online
*1 re"e"ber yor herita#e he# yo lea,e ho"e
Go to thin$central1co% 1 KEYWORD: HML10-4
=o"'lete the acti,itie$ i# yo-r Reader4&riter Note'oo$1
*)
E
Alice &al$er
v y
r yda
Play Audio
U se I will wait for her in the yard that Maggie and I made so clean and wav y yesterdayy afternoon. A yard like this is more comfortable than most peo yesterda ple know. It is not just a yard. It is l ike an etended living room. !he 30 n the hard clay is swept clean as a "oor and the #ne sand around the edges li ned with tiny$ irregular grooves$ anyone can co 10 me and sit and look up into the elm tree and wait for the bree%es that never c ome inside the house. Maggie will be nervous until afte r her sister goes& she will stand h opelessly in corners$ homely and ashamed of th e burn scars down her arms and l egs$ eying her sister with a miture of envy and a 20 we. 'he thinks her sister has held life always in the palm of one hand$ that (no) is a word the world never learned to say to her. a *ou+ve no doubt seen those ,- sh *ou+ve ows where the child who has (ma de it) is
confronte mother and child embrace and smile into each other+s faces. 'o What ?alitie$ !o yo d$ as a metimes the a$$ociate ith the surprise$ mother and father weep$ the child wraps them in her arms and o"a# i# the 'ai#ti#&2 Ho clo$ely !oe$ $he by her o leans across the "atch the $tory/$ wn moth table to tell how she would not have made it without their help. narrator er and f I have seen ather$ to these programs. ttering i 'ometimes I dream a dream in which ee and I are suddenl a .A6E IN-ERENCE, Rerea! li#e$ @10( What n weakly y brought ca# yo i#%er abot from bac together on a ,- program of this sort. ut of a dark and soft Ma&&ie a#! her $i$ter kstage. seated limousine %ro" thi$ !e$cri'tio#2 A pleasa I am ushered into a bright room #lled with many people. ,here Which !etail$ le! to yor i#%ere#ce2 nt surpri I meet a se$ of co smiling$ gray$ sporty man like 4ohnny 5arson who shakes my h urse& !h and and tells at would me what a #ne girl I have. ,hen we are on the stage and ee is they do embracing me if parent with tears in her eyes. 'he pins on my dress a large orchid$ eve and chil n though she has d came told me once that she thinks orchids are tacky "owers. on the s In real life I am a large$ bigboned woman with rough$ man how only working hands. to curse In the winter I wear "annel nightgowns to bed and overalls dur out and ing the day. I insult ea can kill and clean a hog as mercilessly as a man. My fat keeps ch other me hot in %ero / n , weather. I can work outside all day$ breaking ice to get water fo Home Chores 1789$ 1789$ 4acob 4acob :awrence. r washing6 I can - ;ouache and graphite on paper$ eat pork liver cooked over the open #re minutes after it comes 27 < = > 21 < =. =. Anonymo Anonymous us gift. ,he steaming from @elsonAtkins Museum of Art$ Art$ ansas 5ity$ Missouri. B?7?. Choto by by 4amison 4amison the hog. ne winter I knocked a bull calf straight in the brain Miller D 200E ,he ,he 4acob 4acob and ;wendolyn between the 1
57
unit 1& plot$ setting$ and mood
2
1
1?
:awrence Boundation$ 'eattle<Artists Fights 'ociety AF'$ @ew @ew *ork. *ork.
eyes with a sledge hammer and had the meat hung up to chill before nightfall. Gut of course all this does not show on television. I am the way my daughter would want me to be& a hundred pounds lighter$ my skin like an uncooked barley pancake. My hair glistens in the hot bright lights. 4ohnny 5arson has much to do to keep up with my Huick and witty tongue. Gut that is a mistake. I know even before I wake up. !ho ever knew a 4ohnson with a Huick tongue/ !ho can even imagine me looking a strange white man in the eye/ It seems to me I have talked to them always with one 80 foot raised in "ight$ with my head turned in whichever way is farthest from them. ee$ though. 'he would always look anyone in the eye. esitation was no part of her nature. ' ' .A6E IN-ERENCE,
(ow do I look$ Mama/) Maggie says$ showing just enough of her thin body enveloped in pink skirt and red blouse for me to know she+s the re$ almost hidden by the door.
Little Sweet 1788$ !illiam . 4ohnson. il on paperboard$ 2E= > 22=. 'mithsonian American Art American Art Museum$ !ashington$ .5. Choto D 'mithsonian 'mithsonian American American Art Art Museum$ !ashington$ .5.<Art Fesource$ @ew @ew *ork. *ork.
What !o yo i#%er abot Ma"a %ro" her !e$cri'tio# o% her$el%2 =ite $'eci%ic !etail$(
52
90
?0
J0
E0
unit 1& plot$ setting$ and mood
(5ome out into the yard$) I say. eLorts. er eyelids would ave you ever seen a lame animal$ perhaps a dog run over by some not "icker for minutes at careless a time. ften I fought oL person rich enough to own a car$ sidle up to someone who is ignorant the temptation to shake he enough r. At siteen she had a sty to be kind to him/ ,hat is the way my Maggie walks. 'he has been lik le of her own& and knew e this$ what style was. c chin on chest$ eyes on ground$ feet in shuKe$ ever since the #re that burned I never had an education the other house to the ground. myself. After second grade ee is lighter than Maggie$ with nicer hair and a fuller #gure. 'he+s the school was closed a down. on+t ask me why& woman now$ though sometimes I forget. ow long ago was it that the in 172J colored asked fe other wer Huestions than they house burned/ ,en$ twelve years/ 'ometimes I can still hear the "ames do now. 'ometimes Magg and feel ie reads to me. 'he stum Maggie+s arms sticking to me$ her hair smoking and her dress falling o bles along goodnaturedly L her but can+t see well. 'he kn in little black papery "akes. er eyes seemed stretched open$ bla%ed o ows she is not bright. :ik pen by e good looks and money$ the "ames re"ected in them. And ee. I see her standing oL under th Huickness passed her by by.. e sweet 'he will marry 4ohn ,hom gum tree she used to dig gum out of6 a look of concentration on her fa as who has mossy teeth ce as she in an earnest face and th watched the last dingy gray board of the house fall in toward the red en I+ll be free to sit here hot brick and I guess just sing chur chimney. !hy don+t you do a dance around the ashes/ I+d wanted to as ch k her. songs to myself. Although 'he had hated the house that much. I never was a good singer I used to think she hated Maggie$ too. Gut that was before we raised . @ever could carry a tun the e. money$ the church and me$ to send her to Augusta1 to school. 'he used I was always better at a m to read an+s job. I used to love to to us without pity6 forcing words$ lies$ other folks+ habits$ whole lives milk till I was hooked in upon us the side in +87. 5ows are two$ sitting trapped and ignorant underneath her voice. 'he washed u soothing and slow and do s in a n+t bother you$ unless you river of makebelieve$ burned us with a lot of knowledge we didn+t ne try to milk them the wro cessarily ng way. need to know. Cressed us to her with the serious way she read$ to shove I have deliberately turne us away d my back on the house. at just the moment$ like dimwits$ we seemed about to understand. It is three rooms$ just like ee wanted nice things. A yellow organdy dress to wear to her gra the one that burned$ ece duation pt the roof is tin6 they do from high school6 black pumps to match a green suit she+d made from n+t make shingle roofs any an old more. ,here are no real suit somebody gave me. 'he was determined to stare down any disast windows$ just some holes er in her cut in the sides$ like the
portholes in a ship $ but not round an d not sH uare$ wit h rawhid e holding the 1(
A!#!sta:
a city i# 6eor&ia(
c
Language Coach
CON-LICT Rerea! li#e$ B7@4( What co#%lict$ e*i$t betee# Dee a#! her her "other "other a#! $i$ter2
Infor%al lan#!a#e Rerea! the 'ara&ra'h that be&i#$ ith li#e B7( Walker $e$ $e#te#ce %ra&"e#t$ $ch a$ 3Te#+ tel,e year$25 a#! 3A#! Dee(5 to create a# i#%or"al to#e( What other %ra&"e#t$ !o yo $ee o# thi$ thi$ 'a&e2 'a&e2 CHi#t: look %or $e#te#ce$ that lack either a $bect or a ,erb(
everyday use
53
shutters up on the outside. ,his house is in a pasture$ too$ like the other one. 70 @o doubt when ee sees it she will want to tear it down. 'he wrote me once that no matter where we (choose) to live$ she will manage to come see us. Gut she will never bring her friends. Maggie and I thought about this and Maggie asked me$ (Mama$ when did ee ever have any friends/) 'he had a few. Furtive boys in pink shirts hanging about on was f!rtive %Frt6,G adj. $#eaky+ $ecreti,e hday after school. @ervous girls who never laughed. Impressed with her they reco%ose r=kE"-'9G worshiped v. to re$tore to cal"+ to the wellturned phrase$ the cute shape$ the scalding humor that er $ettle a&ai# upted like bubbles in lye. 'he read to them. !hen she was courting 4immy , she didn+t have much time to pay to us$ but turned all her fault#nding power on him. e few to marry a cheap city girl from 100a family of ignorant "ashy people. 'he hardly had time to recompo d .A6E IN-ERENCE, se herself. d It is hard to see !hen she comes I will meetbut there they areN them clearly throug Maggie attempts to make a dash for the house$ in her shuKing w h the strong sun. G ay$$ but I ay ut even the #rst stay her with my hand. (5ome back here$) I say. And she stops and tries to dig a well in the sand with her toe.
glimpse of leg out of the car tells me it is ee. er feet were alwa What !o yo lear# abot Dee %ro" the ay other$ ys neat re$'o#! to her2 looking$ as if ;od himself had shaped them with a certain style. Br om the other side of the car comes a short$ stocky man. air is all over his head a foot long and hanging from his chin like a kinky mule tail. I hear Maggi e suck in 110her breath. (Ohnnnh$) is what it sounds like. :ike when you see the wriggling end of a snake just in front of your foot on the road. (Ohnnnh.) TE6, 2C ee net. A dress down to the ground$ in this hot weather. A dr ess so loud e -IGURATIVE it hurts my eyes. ,here are yellows and oranges enough to throw LANGUAGE -i#!rative lan#!a#e back the light i$ la#&-a&e that of the sun. I feel my whole face warming from the heat waves it co""#icate$ throws out. "ea#i#&$ beyo#! the Parrings gold$ too$ and hanging down to her shoulders. Gracelet literal "ea#i#&$ o% the s dangling and or!$( Rerea! Ma"a/$ making noises when she moves her arm up to shake the folds of t he dress out of her armpits. ,he dress is loose and "ows$ and as she walks clo ser$ I like it. I hear Maggie go (Ohnnnh) again. It is her sister+s hair. It stands straight up like the wool on a sheep. It is black as night and around the edge s are two long !e$cri'tio# o% o% Dee/$ Dee/$ hair+ 120pigtails that rope about like small li%ards disappearing behind her hich be&i#$ o# li#e ears. e 118( Ob,io$ly+ Dee/$ hair (!asu%o,eanoN) she says$ coming on in that gliding way the dre !oe$ #ot literally "o,e ss makes like li9ar!$( Here a#! her move. ,he short stocky fellow with the hair to his navel is all gr inning and he follows up with (Asalamalakim$ 2 my mother and sisterN) e moves to other 'lace$+ 'lace$+ Ma"a hug Maggie but she falls back$ right up against the back of my chaii# other e,oke$ i"a&e$ %ro" her r. I feel her trembling there and when I look up I see the perspiration falling o li%e $'e#t o# a %ar"( Her %i&-rati,e la#&-a&e o%te# L her chin. re%lect$ the hi$torical (on+t get up$) says ee. 'ince I am stout it takes something of a#! cltral $etti#& o% the $tory( What other a push. *ou * ou can see me trying to move a second or two before I make it. 'h e turns$ showing white heels through her sandals$ and goes back to the car. ut she peeks net with a Colaroid. 'he stoops down Huickly and lines up picture after 130picture of me sitting there in front of the house with Maggie coweri e*a"'le$ o% %i&rati,e la#&a&e ca# yo %i#!2 ng behind me. 'he never takes a shot without making sure the house is includ ed. !hen 7( &a8s!89o8Tean8o I-$L9-t=#G 1 1 1
Asala%ala$i% E-$.lE-"E-l.kE"G: A%rica# a#! Arabic &reeti#&$(
5*
unit 1& plot$ setting$ and mood
=o#tra$t the $tyle a#! $-b0ect o% thi$ 'ai#ti#& ith tho$e o% the o#e o# 'a&e B7( Doe$ the co#tra$t re%lect the !i%%ere#ce$ betee# the $i$ter$ i# the $tory2 E*'lai#(
is my sister. 'he named ee. !e called her (Gig e e) after ee was born. (Gut who was she name d after/) asked !angero. (I guess after ;randma a cow comes nibbling around the edge of the yard she snaps it and m ee$) I said. (And who was she name e and d after/) asked !angero. Maggie and the house. ,hen she puts the Colaroid in the back seat of the car$ and comes up and kisses me on the forehead. f ;( &an#ero Lee;ani$a 6e%an<o I#Meanwhile Asalamalakim is going through motions with Maggie+s &Jr l=-I-#=kE kD-"I#G( hand. Maggie+s hand is as limp as a #sh$ and probably as cold$ despite the s 180 weat$ and she keeps trying to pull it back. It looks like Asalamalakim wants to shake hands but wants to do it fancy. r maybe he don+t know how people s hake hands. Anyhow Anyhow$$ he soon gives up on Maggie. (!ell$) I say. (ee.) (@o$ Mama$) she says. (@ot Qee$+ !angero :eewanika emanjoN) 3 (!hat happened to Qee+/) I wanted to know. ('he+s dead$) !angero said. (I couldn+t bear it any longer$ being na med after the people who oppress me.) (*ou know as well as me you was named after your aunt icie$) I s aid. icie
Portrait of a Art Fesource$ @ew @ew *o *ork. rk. woman with g olden headscarf 1 700+s$ Attribu 700+s$ Attributt ed to :o Gabacar. Cikine$ 'enegal. f GRA..AR AN AND D ,T=LE ;lass Rerea! li#e$ 1;11;4( painting. Inv Kotice ho Walker .&A.78.8.33 Mu a!!$ !e$cri'ti,e !etail$ sRe des Arts des Arts d+Af thro&h the $e o% riHue et d+cean reositional hrases ie$ $ch a$ 3aro#! the e!&e Caris. Choto D Arnaude Arnaudet< t< o% the yar!+53i# the the back back FRunion des $eat o% the car+5 a#! 3o# MusRes @ationa the %orehea!(5 u<
everyday use
55
(er mother$) I said$ and saw !angero was getting tired. (,hat+s about as far back as I can trace it$) I said. ,hough$ in fact$ I probably cou # CON-LICT ld have carried What i$ ca$i#& te#$io# it back beyond the 5ivil !ar through the branches. # betee# Dee a#! Ma"a2 (!ell$) said Asalamala Asalamalakim$ kim$ (there you are.) (Ohnnnh$) I heard Maggie say. (,here I was not$) I said$ (before Qicie+ cropped up in our fam ily$ so why should I try to trace it that far back/) e just stood there grinning$ looking down on me like somebo dy inspecting a Model A 8 car. Pvery once in a while he and !angero sent eye s ignals over my head. 1?0 (ow do you pronounce this name/) I asked. (*ou don+t have to call me by it if you don+t want to$) said !angero. (!hy shouldn+t I/) I asked. (If that+s what you want us to call you$ we+ll call you.) (I know it might sound awkward at #rst$) said !angero. (I+ll get used to it$) I said. (Feam it out again.) !ell$ soon we got the name out of the way. Asalamalakim had a name twice as long and three times as hard. After I tripped over it two or three times he told me to just call him akimabarber. 9 I wanted to ask him was he a barber$ but I didn+t really think he was$ so I didn+t ask. 1J0 (*ou must belong to those beefcattle peoples down the road$) I said. ,hey raising cattle is not said (Asalamalakim) when they met you$ too$ but they didn+t shake my style.) ,hey di hands. dn+t tell me$ and I Always too busy& feeding the cattle$ #ing the fences$ putting up s didn+t ask$ whether altlick !angero ee had shelters$ throwing down hay. !hen the white folks poisoned some really gone and m of the herd arried him. the men stayed up all night with ri"es in their hands. I walked a m !e sat down to ile and a eat and right away half just to see the sight. he said he didn+t e akimabarber said$ (I accept some of their doctrines, but far at collards and por ming and k 190
doctrine !ktr6#G n. a $et o% rle$+ belie%$+ or ,ale$ hel! by a &ro' 1E0was
unclean. !angero$ though$ went on through the chitlins and corn bread$ the greens and everything else. 'he talked a blue streak over the sweet potatoes. Pverything delighted her. Pven the fact that we still used the benches her daddy made for the table when we couldn+t aLord to buy chairs. (h$ MamaN) she cried. ,hen turned to akimabarber. (I never knew how lovely these benches are. * *ou ou can feel the rump prints$) she said$ running her hands underneath her and along the bench. ,hen she gave a sigh and her hand closed over ;randma ee+s butter dish. (,hat+s itN) she said. (I knew there was something I wanted to ask you if I could have.) 'he jumped up from the table and went over in the corner where the churn stood$ the milk in it ? 170clabber by now. 'he looked at the churn and looked at it.
4( .odel A: a# ato"obile "a#%actre! by )or! %ro" 17@ to 1;1( B( +a$i%8a8'ar'er hI-k="E-bIrbErG (
<( cla''er: cr!le! "ilk(
5>
unit 1& plot$ setting$ and mood
220
200
230
210
(,his churn top is what I need$) she said. (idn+t Oncle Guddy whittle it out of a tree you all used t o have/) (*es$) I said. (Oh huh$) she said happ ily. (And I want the dasher $J too.) (Oncle Guddy whittle th at$ too/) asked the barber . ee !angero looked u p at me. (Aunt ee+s #rst husban d whittled the dash$) said Maggie so low you almost couldn+t hear her. (is na me was enry$ but they c alled him 'tash.) (Maggie+s brain is like a n elephant+s$) !angero sai d$ laughing. (I can use th e churn top as a centerpiece for the alcove table$) she s aid$ sliding a plate over
the churn$ that grew in the yard where Gig ee and 'tash had lived. (and I+ll After dinner ee !angero went to the trunk at the foot of my be think of s d and omething started ri"ing through it. Maggie hung back in the kitchen over the artistic to dishpan. do with t ut came !angero with two Huilts. ,hey had been pieced by ;rand he dasher.ma ee and then Gig ee and me had hung them on the Huilt frames on the f )h !hen s ront he #nishe porch and Huilted them. ne was in the :one 'tar pattern. ,he other h d wrappin was g the das !alk Around the Mountain. In both of them were scraps of dresses her the h ;randma andle stuc ee had worn #fty and more years ago. Gits and pieces of ;randpa 4 k out. I t arrell+s ook it for Caisley shirts. And one teeny faded blue piece$ about the si%e of a pe a moment nny in my han matchbo$ that was from ;reat ;randpa P%ra+s uniform that he wore i ds. * *ou ou di n the dn+t even 5ivil !ar. have to lo (Mama$) !angero said sweet as a bird. (5an I have these old Huilt ok close t s/) o see whe I heard something fall in the kitchen$ and a minute later the kitch re hands en door pushing thslammed. i e dasher (!hy don+t you take one or two of the others/) I asked. (,hese old up and do things wn to ma was just done by me and Gig ee from some tops your grandma piec ke butter ed before i had left a she died.) kind of si (@o$) said !angero. (I don+t want those. ,hey are stitched around nk in the the wood. In f borders by machine.) act$ there (,hat+ll make them last better$) I said. were a lot (,hat+s not the point$) said !angero. (,hese are all pieces of dress of small es sinks6 you ;randma used to wear. 'he did all this stitching by hand. ImagineN) could see 'he held where thu the Huilts securely in her arms$ stroking them. mbs and ('ome of the pieces$ like those lavender ones$ come from old clothe #ngers ha s her d sunk in mother handed down to her$) I said$ moving up to touch the Huilts. to the wo ee od. It was!angero moved back just enough so that I couldn+t reach the Huilts beautiful . ,hey light yello already belonged to her. w wood$ f (ImagineN) she breathed again$ clutching them closely to her boso rom a tre m. e @(
dasher: the the 'l#&e 'l#&er r o% o% aa chr#+ a !e,ice %or"erly $e! to $tir $tir crea" crea" or "ilk to to 'ro!c 'ro!cee btter(
.A6E IN-ERENCE, Rerea! li#e$ 11701( What !o yo lear# abot Dee a#! Ma&&ie i# the$e li#e$2
.A6E IN-ERENCE, What "i&ht the$e #oi$e$ "ea#2
everyday use
5?
1EE31E73$ -ictoriene -ictoriene Carsons Mitchell. ,etile. 179.? cm 1?3.2 cm. D Indianapolis Museum of Art< Art< Crazy Quilt 1EE31E73$ Crazy Quilt Gridgeman Art :ibrary.
(,he truth is$) I said$ (I promised to give them Huilts to Maggie$ for when she marries 4ohn ,homas.) 'he gasped like a bee had stung her. (Maggie can+t appreciate these HuiltsN) she said. ('he+d probably be backward enough to put them to everyday use.) 280 (I reckon she would$) I said. (;od knows I been saving +em for long enough with nobody using +em. I hope she willN) I didn+t want to bring up how I had oLered ee !angero a Huilt when she went away to college. ,hen she had told me they were oldfashioned$ out of style.
5@
unit 1& plot$ setting$ and mood
(Gut they+re pricelessN) she was saying now$ furiously6 for she has new day for us. Gut from a temper. the way you and Mama sti (Maggie would put them on the bed and in #ve years they+d be in rag ll live you+d never s. :ess know it.) l 290 than thatN) 'he put on some sungla ('he can always make some more$) I said. (Maggie knows how to sses that hide everything a Huilt.) bove the tip of her nose ee !angero looked at me with hatred. (*ou just will not unders and her chin. tand. Maggie smiled6 maybe a ,he point is these Huilts$ these HuiltsN) t the sunglasses. Gut a re (!ell$) I said$ stumped. (!hat would you do with them/) al smile$ not scared. After (ang them$) she said. As if that was the only thing you could do we watched the car dust s with ettle I asked Maggie to bri Huilts. < ng me a dip of snuL. And 2?0 Maggie by now was standing in the door. I could almost hear the s then the two of us sat the ound her re just enjoying$ until it w feet made as they scraped over each other. as time to go in the house ('he can have them$ Mama$) she said$ like somebody used to neve and go to bed. r winning anything$ or having anything reserved for her. (I can +member ;rand ma ee without the Huilts.) I looked at her hard. 'he had #lled her bottom lip with checkerber ry snuL 2J0 and it gave her face a kind of dopey$ hangdog look. It was ;randma ee and Gig ee who taught her how to Huilt herself. 'he stood there with he r scarred hands hidden in the folds of her skirt. 'he looked at her sister with s omething like fear but she wasn+t mad at her. ,his was Maggie+s portion. ,his w as the way she knew ;od to work. !hen I looked at her like that something hit me in the top of my h 2E0 ead and ran down to the soles of my feet. 4ust like when I+m in church and the spirit of ;od touches me and I get happy and shout. I did something I never had done before& hugged Maggie to me$ then dragged her on into the room$ sn atched the Huilts out of Miss !angero+s hands and dumped them into Maggi e+s lap. Maggie just sat there on my bed with her mouth open. $ (,ake one or two of the others$) I said to ee. Gut she turned without a word and went out to akimabarber. (*ou just don+t understand$) she said$ as Maggie and I came out to the car. (!hat don+t I understand/) I wanted to know. (*our heritage,) she said. And then she turned to Maggie$ kissed h er$$ and er said$ (*ou ought to try to make something of yourself yourself$$ too$ Maggie. It+
to ha,e the ?ilt$2 $
"LOT Thi$ 'oi#t i$ the cli%a0 Thi$ 'oi#t o% the $tory( Ho i$ the "ai# co#%lict re$ol,e!2 herita#e hDr6-t6G n.
<
$o"ethi#& 'a$$e! !o# thro-&h &e#eratio#$+ $ch a$ tra!itio#+ ,ale$+ 'ro'erty
CON-LICT
Rerea! li#e$ 7;87B7( Why !oe$#/t Dee a#t Ma&&ie
l
CON-LICT Ho !oe$ Dee ,ie her "other a#! $i$ter2
Well, everyday use 5)
Reading for Information INTERVIE& E*cer'te! i$ a 17 i#ter,ie Walker &a,e to Rola#! R( )ree"a# %or hi$
book A Communion of the Spirits: Afrian!Amerian "uilters, Preservers, and Their Stories.
Alice &al$er on "uiltin# my mother was a Huilter$ and I remember many$ many afternoons of my m other and the neighborhood women sitting on th e
porch around the Huilting frame$ Huilting and talking$ you know6 getting up to stir some thing on the stove and coming back and sitting down. My mother also had a frame inside the house. 'ometimes during the winter she would Huilt
Huilts. Ciecing . . . I+m really more of a piecer$ actually$ than I am a Huilter$ because I can get as far as piecing all of the little sHuares or sections together$ and sometimes putting them together into big blocks$ but then I always have to call in helpspreading it out on the frame$ or spreading it out on the "oor and putting the
,his yellow and black fabric I bought when I was in Oganda$ and I had a beautiful dress made of it that I wore and wore and wore and eventually I couldn+t wear it any more6 partly I had worn it out and also I was pregnant$ so it didn+t #t$ and I used that and I used the red and white and black$ which was a long$ "oor length dress that I had when I was pregnant with my daughter$ Febecca$ who is now twentythree. I took these things apart or I used scraps. I put them together in this Huilt$ because it just seemed perfect. Mississippi was full of political and social struggle$ and regular Huilts were all African American with emphasis on being here in the Onited 'tates. Gut because of the African consciousness that was being raised and the way
batting in and doin Alice Walker a"o#& her "a#y ?ilt$ that we were all wearing g our hair in naturals and the actual Huilting. S,he #rst HuiltT I worked on SwasT the In wearing all of these Africa African n dresses$ I felt the need :ove to blend these two traditions. 'o it+s a Huilt of and ,rouble Huilt. And I did that one when great memory and importance to me. I use it a lot I was and that+s why it+s so worn. living in Mississippi. It was during a perio d when we were wearing Africaninspired dresses. ' o all of the pieces are from dresses that I actually wore.
>7
unit 1U&plot$ setting$ and mood
After Reading
21 Recall Why !oe$ Dee a#t the ?ilt$2
Co%2rehension
unit title (1 Recall Ho ha$ Dee cha#&e! he# $he arri,e$ to $ee her %a"ily2
31 Recall Who &et$ the ?ilt$ at the e#! o% the $tory2
*1 ,!%%ari9e Why !oe$ Dee thi#k Ma"a a#! Ma&&ie !o#/t #!er$ta#! their herita&e2
Literary Analysis 'o$iti,ee a#! 51 .a$e Inferences Re,ie the #ote$ yo took a$ yo rea!( What 'o$iti, #e&ati,e trait$ !oe$ each character ha,e2
READING 5 Make i#%ere#ce$ abot the ele"e#t$ o% %ictio#(
>1 Co%are and Contrast What "ake$ the ?ilt$ ,alable to Dee+ a#! hat "ake$ the" ,alable to Ma&&ie2 =ite e,i!e#ce( ?1 Analy9e "lot Rerea! li#e$ 7<47<( E*'lai# hy Ma"a "ake$ the choice $he !oe$ at the cli%a0 o% the $tory( Ho !oe$ $he %eel abot her choice2 @1 Analy9e Conflict $e the chart $ho# to e*'lore the ,ario$ ay$ that Dee i$ i# co#%lict ith her %a"ily( Which co#%lict$ are re$ol,e! a#! hich are #ot2
a#t$ ?ilt$
a#t Ma&&ie to ha,e ?ilt$ .a%a
Dee
.a##ie
)1 Interret The%e What !o yo thi#k Alice Walker i$ $ayi#& i# 3E,ery!ay $e5 abo-t the #at-re o% herita&e2 S-''ort yo-r a#$er(
(71 ,ynthesi9e Ho !o Walker/$ co""e#t$ abot ?ilti#& o# 'a&e <0 a%%ect yor #!er$ta#!i#& o% 3E,ery!ay $e52
Literary Criticis% ((1 +istorical Conte0t The $tory take$ 'lace i# the late 1<0$+ a ti"e o% &roi#& cltral aare#e$$ %or A%rica# A"erica#$( % the $tory ere $et i# the 're$e#t+ ol! the co#%lict$ ithi# the %a"ily be !i%%ere#t2 E*'lai# yor a#$er(
What
makes
something
VALUABLE?
Why "i&ht 'eo'le !i$a&ree o,er hy a# obect i$ ,alable2
everyday use >(
Voca'!lary in Conte0t voca'!lary
ractice
Write True or $alse %or each $tate"e#t(
beha,ior(( (1 S#eaki#& aro#! i$ a# e*a"'le o% f!rtive beha,ior
word list 21 Whe# yo reco%o se a%ter a tra%%ic acci!e
#t+ yo beco"e "ore a&itate!( 31 To belie,e i# a certai# &ro'/$ doctrine i$ to %ollo their $et rle$(
*1 % yo !e#y yor herita#e yo re%$e to ack#ole!&e yor cltral hi$tory(
!octri#e
%-rti,e herita&e
reco"'o$e
acade%ic N a%%ec t
voca'!lary N co co"" ""-# -#iica cate te
in
;ritin#
N !e%i# it ite
N e$ e$ttab ablli$ i$h h
N i!e#ti%y
A#aly9e ho Dee a#! Ma&&ie co%%!nicate their tho&ht$ a#! %eeli#&$ i# thi$ $tory( Kotice both ,erbal co""#icatio# hat they $ay+ ho they $ay itG a#! #o#,erbal co""#icatio# their %acial e*'re$$io#$+ &e$tre$+ a#! bo!y la#&a&eG( Write o#e or to 'ara&ra'h$ to $hare yor %i#!i#&$( $e at lea$t o#e Aca!e"ic ocablary or! i# yor !i$c$$io#(
voca'!lary
strate#y: the
2refi0
re8
The ,ocablary or! reompose co#tai#$ the Lati# 're%i* re!, hich "ea#$ 3a&ai#5 or or 3back(5 3back(5 Thi$ 're%i* i$ %o#! i# a #"ber o% E#&li$h or!$( To #!er$ta#! the "ea#i#& o% or!$ ith re!, $e yor k#ole!&e o% the ba$e or! a$ ell a$ yor k#ole!&e o% the 're%i* 're%i*((
(E $e a !ictio#ary to !eter"i#e or co#%ir" the "ea#i#&$ o% o% or!$( or!$(
re'oot re 'oot
reco%2ose re co%2ose
READING (A Deter"i#e the "ea#i#& o% o% or!$ or!$ !eri,e! %ro" Lati# a%%i*e$(
re8 recall re call
reaffir% re affir% revie; re vie;
PRACTICE Write the or! %ro" the or! eb that be$t co"'lete$ each $e#te#ce( $e co#te*t cle$ to hel' yo or+ i% #ece$$ary+ co#$lt a !ictio#ary(
(1 To celebrate their a##i,er$ary+ the co'le !eci!e! to PPPPPPP their "arria&e ,o$( 21 She trie! to PPPPPPPP her$el% a%ter her har$h $col!i#&(
>2
Yo #ee! to PPPPPPPP the co"'ter a%ter i#$talli#& #e $o%tare( 31 Yo
Interactive Voca'!lary
*1 The toy co"'a#y i$$e! a PPPPPPPP o# a toy trck ith !a#&ero$ 'art$(
Go to thin$central1co% thin$central1co%11
51 .e $re to PPPPPPPP yor 'a'er %or $'elli#& "i$take$ be%ore $b"itti#& it(
KEYWORD: HML10-<7
unit 1& plot$ setting$ and mood
Conventions in &ritin# #ra%%ar and style:
Add Descritive Details
Re,ie the Gra%%ar and ,tyle #ote o# 'a&e BB( .y i#cor'orati#& reositional hrases i#to yor riti#&+ a$ Alice Walker !oe$+ yo ca# a!! i"'orta#t !etail$ that $ho %hat, %hen, %here, a#! ho% e,e#t$ are taki#& 'lace( Here i$ a# e*a"'le %ro" the $tory( After dinner &ee 'Wan#ero( %ent to the trunk at the foot of m) bed and start started ed
Wan#ero %ith t%o uilts. The) had been p ieed b) -randma &ee and then i# &ee and me had hun# them on the uilt frames fram es on the fro front nt por h and uilted
them. li#e$ 708717G See ho the re,i$io#$ i# ble a!! i"'orta#t !e$cri'ti,e !etail$ to thi$ %ir$t !ra%t( Re,i$e yor o# riti#& by $i#& the$e tech#i?e$( &RITING (*A Write a# e#&a&i#& $tory ith i#tere$ti#& a#! belie,able character$(
(? #!er$ta#! the %#ctio# a#! $e the co#,e#tio#$ o% aca!e"ic la#&-a&e(
st!dent %odel
o# the cheek
Mama walks over to ee and gives her a kiss. ee f rowns and ith a ha#!kerchie%
at Ma"a
o# the be#ch
wipes oL the kiss. 'he crosses the room and sits down heavily.
readin#8;ritin# =OUR
connection
Dee'e# yor #!er$ta#!i#& o% 3E,ery!ay $e5 by re$'o#!i#& to thi$ 'ro"'t 'ro"'t(( The# $e the revisin# ti to i"'ro,e yor riti#&(
TURN
;ritin# 2ro%2t
revisin# ti2
E0tended Resonse: &rite a ,tory ,e!el
Re,ie yor re$'o#$e(
"a&i#e that Dee ,i$it$ the %a"ily a&ai# te# year$
Ho ha,e yo $e!
a%ter the e,e#t$ i# 3E,ery!ay $e(5 Write one a#e
're'o$itio#al 'hra$e$
$hoi#& hat $he+ Ma"a+ a#! Ma&&ie are #o like
that $ho %hat, %hen,
a#! ho they i#teract( What co#%lict$ betee#
%here, a#! ho% e,e#t$
the" are $till #re$ol,e!2
take 'lace i# yor $tory
Interactive Revision
$e?-el2
Go to thin$central1co% thin$central1co%11 KEYWORD: HML10-<;
everyday use >3
