Now stop and think about how you should treat your heritage. Do you simply think your heritage is something to just remember, or do you believe you should apply the things inherited from heritage to everyday use? In Alice Walker’s short story, “Everyday Use,” Mama, Maggie, and Dee, three very different characters, have controversy over this topic. Mama is a tough and robust woman, who has worked all her life to provide for her family. Mama’s always had a soft spot for her daughter, Dee, but when Mama finally stands up to her, she sends the message that the things you inherit from your heritage should be applied to everyday use.
This need drives Lily to Tiburon, South Carolina where there is one last possible link to her mother. As a result of her deep longing for motherly love and who her mother was, Lily acquires a great determination. Her determination to find out more about her mother is first noticed when she breaks Rosaleen out of jail to go along with her on her journey to the one possible link to her mother. This scene shows that Lily is willing to risk anything, including her life, to have a chance to know more about her mother. Later on in the story, her determination continues to carry her when she decides to stay with three African American women who later fulfill Lily’s longing for motherly love.
The first motive for the protagonists’ rebellion is expressed through the theme of identity. In Scorched, this theme is introduced towards the beginning of the play during a conversation between the protagonist, Nawal Marwan, and her grandmother, Nazira. Nawal promises Nazira to “learn to read,...write,...count,...speak” (Mouawad 32) because her grandmother understands that would be the only way Nawal can defy her gender role and become knowledgeable—it would be the only way she could succeed in life. This way, she wouldn’t be another woman who simply grows up, becomes a housewife, takes care of her children, ages and dies. She could finally escape an unending cycle of poverty and hatred; she could then be known as a literate person.
Betty also had a daughter she had to live for. She had to overcome her fear of loosing her breast and her life. She choose to have the surgery so she could live. She had the surgery and lust the fear of how people would look ather and treat her. She overcame fear and had the courage to have the surgery.
(post office) is considered her safe haven, her own place. In the beginning the antagonist is Sister’s younger sister Stella-Rondo. Later in the story, according to Sister, after Stella-Rondo turns everyone against her, the entire family becomes the antagonist. Sister decides she can’t tolerate anymore and moves away from home, going to live in the post office. Functioning in Dysfunction In Eudora Welty’s short story “Why I Live at the P.O.” Sister, the character that plays the role of the narrator and protagonist, is searching for a way to leave home.
When her mother had nearly everything behind, she didn’t appreciate the significance of the silk dresses. In addition, she will have to learn to live off what she has. Lastly, the author writes, “And I am sitting at my mother’s place at the mah jong table, on the East, where things begin” (Tan 41). Jing-Mei questions herself if she can uphold. Uphold her mother’s traditions, but her mother’s memory and identity.
Katniss’s heroine journey begins when her sister is chosen at the Reaping to be a tribute in the Hunger Games. She feels called to take her place because she knew she would not survive; she answers the call to adventure without second guessing. Her everyday life is disturbed and the story changes drastically. Katniss gets taken away from what is familiar, as most heroes do in the typical hero’s journey. Katniss’s story immediately follows the next step, where she meets her mentor, Haymitch Abernathy; and companion, Peeta Mellark.
But with Constantine’s thumb pressed in my hand, I realized I actually had a choice in what I could believe” (00). Skeeter was greatly affected by the mothering hand of Constantine throughout her childhood. Skeeter’s relationship with Constantine resulted in a newfangled way of thinking for Skeeter. Rather than looking for a family and kids as soon as she could, Skeeter decided to go to college. She studied to become a writer.
Emily’s mother was only nineteen at this time. She has the struggle of deciding to stay home with her child or to work during this depression. This decision causes the mother to always feel a sense of regret. She hopes her daughter can feel beautiful on the inside despite what she sees on the outside. The mother reflects back to when Emily was a baby.
Eva's relationship with her mother is that she is reliant on her mother and at the start of the play you can see that Helga is trying to make Eva independant. 'You don't need me' and 'There's no later left' show us that Helga feels guilty for having to leave Eva but by saying 'You have to be able to manage on your own' this shows us that Helga knows that Eva and her will possibly never see each other again and Eva needs to be able to survive without her mother. Her relationship with her mother is very disciplined as you can see that her mother is trying to cut off her emotions when it comes to Eva, Eva senses her mother trying to push her away when she says 'Why won't you help me?'. Helga's language is very withdrawn and full of imperatives also suggesting her plan to try and make Eva independant. Eva's discourse shows lack of control.