EVERYDAY USE Alice walker
everyday use人物分析兼论其主题
everyday use人物分析兼论其主题《EverydayUse》是美国作家居伦米拉姆惠特曼（AliceWalker）于1973年发表的一篇小说，主要讲述了一个低收入乡村非洲裔美国家庭之间的非洲文化继承争议，也表达了作者对传统非洲文化的认可和尊重。
主要人物分析1.拉（Maggie）：米拉是小说的主人公，也是家庭中最小的孩子，由于生活条件的限制，没有接受过正规的教育，外表粗犷，性格简单，但是对家里的传统文化有着强烈的执着。
米拉有着自己良好的文化认知，理解着自家的传统文化价值，以自己家里的织物来保护和传承自家的文化遗产。
2.丽安（Mary Ann）：玛丽安是米拉的姐姐，也是家里最大的孩子，她曾经就读过大学，想要摆脱贫困，从而拥有更好的生活。
她比米拉更加注重审美，认为传统文化只是一种礼仪，应该只在特定的场合里展示，而不是用于日常生活。
3.安娜（Mama）：玛安娜是小说中的母亲，她友善善良，关心孩子们，有着较强的责任感。
作为家里最重要的人，她在米拉和玛丽安之间寻求平衡，希望两个孩子都能得到成就，又能继承家族的文化传统。
4.安娜（Dee）：戴安娜是米拉和玛丽安的姐姐，比两个孩子大了很多年的大姐，曾经就读过大学，拥有较强的文化认知，对家族的传统文化认可有限，她认为这些传统文化太过于粗俗，不够美观，最后把它们拿来当做收藏品展示在家里。
人物特征看，米拉在家庭有著最深厚的文化认知，追求著文化的承和煌；而玛丽安家族文化有度反感，希望能摆脱贫困，过上更好的生活。
玛安娜在米拉和玛丽安之，她既知道家族文化的重要性，也理解玛丽安改善生活的追求，於双方的力求公平，人都能得到尊重。
戴安娜於家族的传统文化有限的认可，而她想要把它们拿当做收藏品展示在家里，展示自家文化的象征性，也是於家族文化的致敬。
最，《Everyday Use》的主题是“文化继承”。
作者用家族中三名不同文化认知水平的主要人物来表现这个主题，讲述了家庭中个孩子在文化继承上的分歧。
EVERYDAY USE Alice walker
Occupation: Novelist, short story writer, poet, political activist Notable work： The Color Purple Notable awards : Pulitzer Prize for Fiction 1983 National Book Award1983
T h e F ro n t P a g e A w a rd fo r B e s t M a g a z in e C ritic is m fro m th e N e w s w o m a n 's C lu b o f N e w Y o rk In d u c tio n to th e C a lifo rn ia H a ll o f F a m e in T h e C a lifo rn ia M u s e u m fo r H is to ry , W o m e n , a n d th e A rts (2006) D o m e s tic H u m a n R ig h ts A w a rd fro m G lo b a l E x c h a n g e (2007)
Detail information
P e rin g c a re e r
Alice walker
a c tiv is m
A w a rd s and
Personal life
Walker began writing, very privately, when she was eight years old. In 1952, Walker was accidentally wounded in the right eye by a shot and she had become permanently blind in that eye. After high school, Walker went to Spelman College in Atlanta on a full scholarship in 1961 and later transferred to Sarah Lawrence College near New York City, graduating in 1965.
美国经典小说 Everyday Use
Everyday Useby Alice WalkerI will wait for her in the yard that Maggie and I made so clean and wavy yesterday afternoon. A yard like this is more comfortable than most people know. It is not just a yard. It is like an extended living room. When the hard clay is swept clean as a floor and the fine sand around the edges lined with tiny, irregular grooves, anyone can come and sit and look up into the elm tree andwait for the breezes that never come inside the house.Maggie will be nervous until after her sister goes: she will stand hopelessly in corners, homely and ashamed of the burn scars down her arms and legs, eying her sister with a mixture of envy and awe. She thinks her sister has held lifealways in the palm of one hand, that "no" is a word the world never learned tosay to her.You've no doubt seen those TV shows where the child who has "made it" is confronted, as a surprise, by her own mother and father, tottering in weaklyfrom backstage. (A pleasant surprise, of course: What would they do if parentand child came on the show only to curse out and insult each other?) On TV mother and child embrace and smile into each other's faces. Sometimes the mother and father weep, the child wraps them in her arms and leans across the table totell how she would not have made it without their help. I have seen these programs.Sometimes I dream a dream in which Dee and I are suddenly brought together on a TV program of this sort. Out of a dark and soft-seated limousine I am usheredinto a bright room filled with many people. There I meet a smiling, gray, sporty man like Johnny Carson who shakes my hand and tells me what a fine girl I have. Then we are on the stage and Dee is embracing me with tears in her eyes. She pins on my dress a large orchid, even though she has told me once that shethinks orchids are tacky flowers.In real life I am a large, big-boned woman with rough, man-working hands. In the winter I wear flannel nightgowns to bed and overalls dur.ing the day. I can kill and clean a hog as mercilessly as a man. My fat keeps me hot in zero weather. I can work outside all day, breaking ice to get water for washing; I can eat pork liver cooked over the open fire minutes after it comes steaming from the hog.One winter I knocked a bull calf straight in the brain between the eyes with a sledge hammer and had the meat hung up to chill before nightfall. But of courseall 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. Johnny Carson has much to do to keep up withmy quick and witty tongue.But that is a mistake. I know even before I wake up. Who ever knew a Johnson with a quick tongue? Who can even imagine me looking a strange white man in the eye? It seems to me I have talked to them always with one foot raised in flight, with my head fumed in whichever way is farthest from them. Dee, though. Shewould always look anyone in the eye. Hesitation was no part of her nature. "How 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 there, almost hidden by the door."Come out into the yard," I say.Have you ever seen a lame animal, perhaps a dog run over by some careless person rich enough to own a car, sidle up to someone who is ignorant enough to be kind to him? That is the way my Maggie walks. She has been like this, chin on chest, eyes on ground, feet in shuffle, ever since the fire that burned the other houseto the ground.Dee is lighter than Maggie, with nicer hair and a fuller figure. She's a woman now, though sometimes I forget. How long ago was it that the other house burned? Ten, twelve years? Sometimes I can still hear the flames and feel Maggie's arms sticking to me, her hair smoking and her dress falling off her in little black papery flakes. Her eyes seemed stretched open, blazed open by the flames reflected in them. And Dee. I see her standing off under the sweet gum tree she used to dig gum out of; a look of concentration on her face as she watched thelast dingy gray board of the house fall in toward the red-hot brick chimney. Why don't you do a dance around the ashes? I'd wanted to ask her. She had hated the house that much.I used to think she hated Maggie, too. But that was before we raised money, the church and me, to send her to Augusta to school. She used to read to us without pity; forcing words, lies, other folks' habits, whole lives upon us two, sitting trapped and ignorant underneath her voice. She washed us in a river ofmake-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.Dee wanted nice things. A yellow organdy dress to wear to her graduation from high school; black pumps to match a green suit she'd made from an old suit somebody gave me. She was determined to stare down any disaster in her efforts. Her eyelids would not flicker for minutes at a time. Often I fought off the temptation to shake her. At sixteen she had a style of her own: and knew what style was.I never had an education myself. After second grade the school was closed down. Don't ask my why: in 1927 colored asked fewer questions than they do now. Sometimes Maggie reads to me. She stumbles along good-naturedly but can't see well. She knows she is not bright. Like good looks and money, quickness passes her by. She will marry John Thomas (who has mossy teeth in an earnest face) and then I'll be free to sit here and I guess just sing church songs to myself.Although I never was a good singer. Never could carry a tune. I was always better at a man's job. I used to love to milk till I was hooked in the side in'49. Cows are soothing and slow and don't bother you, unless you try to milk them the wrong way.I have deliberately turned my back on the house. It is three rooms, just likethe one that burned, except the roof is tin; they don't make shingle roofs any more. There are no real windows, just some holes cut in the sides, like the portholes in a ship, but not round and not square, with rawhide holding theshutters up on the outside. This house is in a pasture, too, like the other one.No doubt when Dee sees it she will want to tear it down. She wrote me once thatno matter where we "choose" to live, she will manage to come see us. But shewill never bring her friends. Maggie and I thought about this and Maggie asked me, "Mama, when did Dee ever have any friends?"She had a few. Furtive boys in pink shirts hanging about on washday after school. Nervous girls who never laughed. Impressed with her they worshiped the well-turned phrase, the cute shape, the scalding humor that erupted like bubblesin lye. She read to them.When she was courting Jimmy T she didn't have much time to pay to us, but turned all her faultfinding power on him. He flew to marry a cheap city girl from afamily of ignorant flashy people. She hardly had time to recompose herself.When she comes I will meet—but there they are!Maggie attempts to make a dash for the house, in her shuffling way, but I stayher with my hand. "Come back here, " I say. And she stops and tries to dig awell in the sand with her toe.It is hard to see them clearly through the strong sun. But even the firstglimpse of leg out of the car tells me it is Dee. Her feet were alwaysneat-looking, as if God himself had shaped them with a certain style. From theother side of the car comes a short, stocky man. Hair is all over his head afoot long and hanging from his chin like a kinky mule tail. I hear Maggie suckin her breath. "Uhnnnh, " is what it sounds like. Like when you see thewriggling end of a snake just in front of your foot on the road. "Uhnnnh."Dee next. A dress down to the ground, in this hot weather. A dress so loud ithurts my eyes. There are yellows and oranges enough to throw back the light ofthe sun. I feel my whole face warming from the heat waves it throws out.Earrings gold, too, and hanging down to her shoulders. Bracelets dangling and making noises when she moves her arm up to shake the folds of the dress out ofher armpits. The dress is loose and flows, and as she walks closer, I like it. Ihear Maggie go "Uhnnnh" again. It is her sister's hair. It stands straight uplike the wool on a sheep. It is black as night and around the edges are two long pigtails that rope about like small lizards disappearing behind her ears."Wa-su-zo-Tean-o!" she says, coming on in that gliding way the dress makes her move. The short stocky fellow with the hair to his navel is all grinning and he follows up with "Asalamalakim, my mother and sister!" He moves to hug Maggie but she falls back, right up against the back of my chair. I feel her tremblingthere and when I look up I see the perspiration falling off her chin."Don't get up," says Dee. Since I am stout it takes something of a push. You cansee me trying to move a second or two before I make it. She turns, showing white heels through her sandals, and goes back to the car. Out she peeks next with a Polaroid. She stoops down quickly and lines up picture after picture of mesitting there in front of the house with Maggie cowering behind me. She never takes a shot without mak' ing sure the house is included. When a cow comes nibbling around the edge of the yard she snaps it and me and Maggie and the house. Then she puts the Polaroid in the back seat of the car, and comes up and kisses me on the forehead.Meanwhile Asalamalakim is going through motions with Maggie's hand. Maggie's hand is as limp as a fish, and probably as cold, despite the sweat, and shekeeps trying to pull it back. It looks like Asalamalakim wants to shake handsbut wants to do it fancy. Or maybe he don't know how people shake hands. Anyhow, he soon gives up on Maggie."Well," I say. "Dee.""No, Mama," she says. "Not 'Dee,' Wangero Leewanika Kemanjo!""What happened to 'Dee'?" I wanted to know."She's dead," Wangero said. "I couldn't bear it any longer, being named afterthe people who oppress me.""You know as well as me you was named after your aunt Dicie," I said. Dicie ismy sister. She named Dee. We called her "Big Dee" after Dee was born."But who was she named after?" asked Wangero."I guess after Grandma Dee," I said."And who was she named after?" asked Wangero."Her mother," I said, and saw Wangero was getting tired. "That's about as farback as I can trace it," I said. Though, in fact, I probably could have carriedit back beyond the Civil War through the branches."Well," said Asalamalakim, "there you are.""Uhnnnh," I heard Maggie say."There I was not," I said, "before 'Dicie' cropped up in our family, so whyshould I try to trace it that far back?"He just stood there grinning, looking down on me like somebody inspecting a Model A car. Every once in a while he and Wangero sent eye signals over my head. "How do you pronounce this name?" I asked."You don't have to call me by it if you don't want to," said Wangero."Why shouldn't 1?" I asked. "If that's what you want us to call you, we'll call you.""I know it might sound awkward at first," said Wangero."I'll get used to it," I said. "Ream it out again."Well, 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 meto just call him Hakim.a.barber. I wanted to ask him was he a barber, but Ididn't really think he was, so I didn't ask."You must belong to those beef-cattle peoples down the road," I said. They said "Asalamalakim" when they met you, too, but they didn't shake hands. Always too busy: feeding the cattle, fixing the fences, putting up salt.lick shelters,throwing down hay. When the white folks poisoned some of the herd the men stayed up all night with rifles in their hands. I walked a mile and a half just to seethe sight.Hakim-a-barber said, "I accept some of their doctrines, but farming and raising cattle is not my style." (They didn't tell me, and I didn't ask, whether Wangero (Dee) had really gone and married him.)We sat down to eat and right away he said he didn't eat collards and pork was unclean. Wangero, though, went on through the chitlins and com bread, the greens and everything else. She talked a blue streak over the sweet potatoes.Everything delighted her. Even the fact that we still used the benches her daddy made for the table when we couldn't effort to buy chairs."Oh, Mama!" she cried. Then turned to Hakim-a-barber. "I never knew how lovely these benches are. You can feel the rump prints," she said, running her hands underneath her and along the bench. Then she gave a sigh and her hand closed over Grandma Dee's butter dish. "That's it!" she said. "I knew there was something I wanted to ask you if I could have." She jumped up from the table and went over in the corner where the churn stood, the milk in it crabber by now.She looked at the churn and looked at it."This churn top is what I need," she said. "Didn't Uncle Buddy whittle it out ofa tree you all used to have?""Yes," I said."Un-huh," she said happily. "And I want the dasher, too.""Uncle Buddy whittle that, too?" asked the barber.Dee (Wangero) looked up at me."Aunt Dee's first husband whittled the dash," said Maggie so low you almost couldn't hear her. "His name was Henry, but they called him Stash.""Maggie's brain is like an elephant's," Wangero said, laughing. "I can use the chute top as a centerpiece for the alcove table," she said, sliding a plate overthe chute, "and I'll think of something artistic to do with the dasher."When she finished wrapping the dasher the handle stuck out. I took it for a moment in my hands. You didn't even have to look close to see where hands pushing the dasher up and down to make butter had left a kind of sink in the wood. In fact, there were a lot of small sinks; you could see where thumbs and fingers had sunk into the wood. It was beautiful light yellow wood, from a treethat grew in the yard where Big Dee and Stash had lived.After dinner Dee (Wangero) went to the trunk at the foot of my bed and started rifling through it. Maggie hung back in the kitchen over the dishpan. Out came Wangero with two quilts. They had been pieced by Grandma Dee and then Big Dee and me had hung them on the quilt ftames on the ftont porch and quilted them. One was in the Lone Stat pattern. The other was Walk Around the Mountain. In both of them were scraps of dresses Grandma Dee had worn fifty and more years ago. Bits and pieces of Grandpa Jattell's Paisley shirts. And one teeny fadedblue piece, about the size of a penny matchbox, that was from Great GrandpaEzra's uniform that he wore in the Civil War." Mama," Wangro said sweet as a bird. "Can I have these old quilts?"I heard something fall in the kitchen, and a minute later the kitchen door slammed."Why don't you take one or two of the others?" I asked. "These old things wasjust done by me and Big Dee from some tops your grandma pieced before she died.""No," said Wangero. "I don't want those. They are stitched around the borders by machine.""That'll make them last better," I said."That's not the point," said Wangero. "These are all pieces of dresses Grandma used to wear. She did all this stitching by hand. Imagine!" She held the quilts securely in her arms, stroking them."Some of the pieces, like those lavender ones, come from old clothes her mother handed down to her," I said, moving up to touch the quilts. Dee (Wangero) moved back just enough so that I couldn't reach the quilts. They already belonged toher."Imagine!" she breathed again, clutching them closely to her bosom."The truth is," I said, "I promised to give them quilts to Maggie, for when she marries John Thomas."She gasped like a bee had stung her."Maggie can't appreciate these quilts!" she said. "She'd probably be backward enough to put them to everyday use.""I reckon she would," I said. "God knows I been saving 'em for long enough with nobody using 'em. I hope she will!" I didn't want to bring up how I had offered Dee (Wangero) a quilt when she went away to college. Then she had told they were old~fashioned, out of style."But they're priceless!" she was saying now, furiously; for she has a temper. "Maggie would put them on the bed and in five years they'd be in rags. Less than that!""She can always make some more," I said. "Maggie knows how to quilt."Dee (Wangero) looked at me with hatred. "You just will not under.stand. Thepoint is these quilts, these quilts!""Well," I said, stumped. "What would you do with them7""Hang them," she said. As if that was the only thing you could do with quilts. Maggie by now was standing in the door. I could almost hear the sound her feet made as they scraped over each other."She can have them, Mama," she said, like somebody used to never winning anything, or having anything reserved for her. "I can 'member Grandma Dee without the quilts."I looked at her hard. She had filled her bottom lip with checkerberry snuff and gave her face a kind of dopey, hangdog look. It was Grandma Dee and Big Dee who taught her how to quilt herself. She stood there with her scarred hands hiddenin the folds of her skirt. She looked at her sister with something like fear butshe wasn't mad at her. This was Maggie's portion. This was the way she knew God to work.When I looked at her like that something hit me in the top of my head and ran down to the soles of my feet. Just like when I'm in church and the spirit of God touches me and I get happy and shout. I did something I never done before: hugged Maggie to me, then dragged her on into the room, snatched the quilts outof Miss Wangero's hands and dumped them into Maggie's lap. Maggie just sat there on my bed with her mouth open."Take one or two of the others," I said to Dee.But she turned without a word and went out to Hakim-a-barber."You just don't understand," she said, as Maggie and I came out to the car. "What don't I understand?" I wanted to know."Your heritage," she said, And then she turned to Maggie, kissed her, and said, "You ought to try to make something of yourself, too, Maggie. It's really a new day for us. But from the way you and Mama still live you'd never know it." She put on some sunglasses that hid everything above the tip of her nose and chin.Maggie smiled; maybe at the sunglasses. But a real smile, not scared. After we watched the car dust settle I asked Maggie to bring me a dip of snuff. And then the two of us sat there just enjoying, until it was time to go in the house and go to bed.。
高级英语课文Everyday Useppt课件
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Detailed study of the text:
12. sledge hammer: large, heavy hammer for swinging with both hands, a large heavy hammer with a long handle, used for smashing concrete
• Sister has held life in the palm of
one hand
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Detailed study of the text
• have made it: if you make it, you are successful in achieving sth. Difficult, or in surviving through a very difficult period.
technique • Cultural difference between
nationalities in the US
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Detailed study of the text:
• 1. wavy: having regular curves
–A wavy line has a series of regular curves along it.
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Important & Difficult points
• The comprehension of the whole story • The understanding of colloquial,
slangy or black English expressions • The appreciation of the writing
Everyday Use人物分析兼论其主题
Everyday Use人物分析兼论其主题［摘要］在Everyday Use中，Maggie and Dee虽是出生于同一家庭的俩姐妹，但由于种种原因而形成的身体和心理方面的差异极大。
本文着重分析了这两个人物的差异，并探讨了其主题。
［关键词］Everyday Use,人物,主题Everyday Use出自〈高级英语〉（第一册，张汉熙主编）第四课，其作者是美国现代著名女作家Alice Walker。
作者在课文中以第一人称（mother of Dee and Maggie）巧妙、含蓄地道出两代黑人（mother and her two daughters）或者说同一代黑人（Dee and Maggie，two sisters）之间在思想观念以及黑人文化遗产上所面临的两难抉择以及他们所持的复杂态度。
尤其是关于黑人母亲对自己两个女儿（Dee and Maggie）的评价的描写更加有力地彰显了这种抉择的艰难和态度的复杂。
可见，Maggie and Dee虽是出生于同一家庭的俩姐妹，但由于种种原因而形成的身体和心理方面的差异极大。
一、Maggie and Dee差异分析作为少数民族最大的群体，美国的黑人是在经过数百年的交叉影响和相互作用下，非洲文化同美国白人文化的共同交融而孕育出的一种新型黑人—美国黑人或称美国非洲裔黑人。
由于美国政府在南北战争前一直奉行白人至上的政策，因此，虽然在数量上作为少数民族最大的群体的美国黑人，他们在政治、经济、文化以及社会生活等各方面却一直处于无权和被压迫的境地。
Alice Walke生于1944年，此时的美国在政治上较之从前已经发生了天翻地覆的变化。
比如说，轰轰烈烈的、席卷全国的废奴运动业已结束，发端于20 世纪20年代纽约市黑人聚居区—哈莱姆的“黑人文艺复兴”也方兴未艾。
因此，她所耳闻目睹的美国黑人无论在政治、经济还是文化等方面都有了明显的改观。
事实上，Alice Walke时代的美国黑人正面临着这样一种两难抉择：一方面，他们要不失时机地与白人交流和融合；另一方面，他们又必须想方设法地保全自己的传统和文化。
everyday use
• 每年的7月30日为非洲妇女日，同三。八国 际妇女节一样，设立非洲妇女节的目的也 是为了维护妇女的合法权益，保证妇女的 平等权利不受侵犯。
谢谢观看
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谢谢观看
• 《紫色》（The Color Purple)是一部优秀的 张扬黑人女权主义的代表作,在1983年获得 小说类普利策奖。小说描述了一位受旧思 想束缚的黑人妇女的转变和成长过程，充 分展现了黑人女性深受性别和种族双重压 迫的政治状况和生活境遇，以及对这种双 重压迫的反抗和对完善自我及完美生活的 渴望与追求，深刻反映了作者的妇女主义 思想。《紫色》还深刻地揭示了妇女主义 思想的内涵和对黑人妇女求解放、求平等 的积极意义。
• “妇女主义者”这个词最早是由艾丽斯· 沃 克（Alice Walker）在她的论文集《寻找我 们母亲的花园：妇女主义散文》（in search of our mother's gardens:womanist prose)中提出的（1983）。沃克在她的论 文集的前言中对妇女主义者下了定义，她 指出妇女主义是黑人母亲民间使用的词语， 用于训诫其女儿行为不要太“女里女气 了”，而沃克对这一形容词的解释是“不 受拘束的、敢于冒险的、勇敢的或任性的 行为。想要更深入地了解一般人认为足够 了的事情”。
lesson four Everyday Use
目录
作者简介 代表作品 妇女主义的概念 非洲黑人现状
作者简介
• 艾丽斯· 沃克1944年2月9日出生于南方佐治 亚州的一个佃农家庭，父母的祖先是奴隶 和印度安人，艾丽斯是家里八个孩子中最 小的一个。1961年艾丽斯获奖学金入亚特 兰大的斯帕尔曼大学学习，正赶上美国民 权运动的高涨时期，她即投身于这场争取 种族平等的政治运动。1962年，艾丽斯· 沃 克被邀请到马丁· 路德· 金的家里做客。1963 年艾丽斯到华盛顿参加了那次著名的游行， 与万千黑人一同聆听马丁· 路德· 金“我有一 个梦想”的讲演。
everydayuse读后感中文
everydayuse读后感中文I really enjoyed reading "Everyday Use" by Alice Walker. The story delves into the complexities of family relationships and the struggle to maintain a connection to one's cultural heritage. The characters are well-developed and the themes of identity and heritage are beautifully woven throughout the narrative. The conflict between Deeand her mother and sister is particularly compelling, as it highlights the tension between embracing one's heritage and seeking individuality.英文回答，The symbolism of the quilts in the story is also quite powerful. The quilts represent the family's heritage and the struggle to preserve it. Dee wants to take the quilts and hang them up as art, while her mother sees them as practical, everyday items that should be used and appreciated in daily life. This conflict over the quilts serves as a metaphor for the larger struggle between the characters to understand and honor their heritage.Overall, "Everyday Use" is a thought-provoking and emotionally resonant story that explores the complexities of family dynamics and the importance of cultural heritage.中文回答，我非常喜欢阅读艾丽斯·沃克的《日常使用》。
高级英语第四课-Everyday-Use
About Alice Walker
She was born into a poor rural family in Georgia, as the eighth child of sharecropper 交租耕种农 parents. She grew up in the midst of violent racism and poverty which influence her later writings.
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About Alice Walker
After her junior year at the college, she won a scholarship as an exchange student to Uganda, and Kenya. This most probably helped her to understand the African culture.
1. Alice Walker’s Early Life
Date of Birth: February 9, 1944
Birthplace: Eatonton, Georgia
Parents:
Willie Lee and Minnie Lou Grant Walker,
who were sharecroppers
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About ቤተ መጻሕፍቲ ባይዱlice Walker
Her works: The Third Life of Grange Copeland (1970); Meridian (1976); In Love and Trouble: Stories of Black Women
(1973); The Temple of My Familiar (1989); The Color Purple (1982)
ALICE WALKER 作者 Everyday Use 课文简介
Made by 少媚、瑞冰
Everyday Use
Biography
CHILDHOOD
born in Eatonton, Georgia , on February, 1944 youngest of eight children, grew up mostly with her 5 oldest brothers 1952-her brother shot her eye out with a BB gun blinding her one eye
Collision
Hope of preserving the black’s culture
✔ ✔ ✔ ✔ ✔ ✔ ✔
Rape Sexism Racism Violence Isolation Troubled relationships Multi-generational perspectives
Walker’s publishing
1968 Once (poetry)
1970-The Third
Mom Maggie Dee
conflict
different views on the African culture
◈ narrator of the story ◈ a typical black woman
◈ little education, poor, strong ◈ hard-working, independent,
♦ short story, widely studied
♦ first published in 1973 as part of In Love and
everyday use by alice walker译文
everyday use by alice walker译文以下是为您生成的译文：《艾丽斯·沃克的<日常使用>》原文这篇东西讲的呢，就是一些日常生活里的事儿。
咱一点点来掰扯掰扯。
先说这家人，有个老妈，还有俩闺女。
大闺女呢，叫迪伊，跑到大城市去混了，觉着自己可了不起，学了一堆花里胡哨的东西。
小闺女呢，叫麦姬，就在家里老老实实呆着，跟着老妈过日子。
有一天，迪伊回来了，打扮得那叫一个花枝招展，还带了个男朋友。
她一回来就瞅着家里这也不顺眼，那也不顺眼，觉得老妈和麦姬太土气。
老妈呢，一直守着家里的老物件，像什么被子啦，搅乳器啦。
迪伊就想要这些东西，说这是传统，是文化，要拿回去当宝贝供着。
可老妈心里清楚，这些东西真正的用处不是摆在那好看，而是日常使用。
麦姬呢，因为小时候被火烧伤过，有点自卑，也不咋说话。
但她心里明白家里这些东西的价值。
迪伊非要拿那些被子，老妈就不干，说这被子得留着日常用。
迪伊还不高兴了，觉得老妈不懂她的心思。
其实啊，老妈心里跟明镜似的，知道啥是真正的过日子，啥是表面的花架子。
最后老妈还是把被子给了麦姬，因为她知道麦姬会像一直以来那样，踏踏实实地用这些东西。
这故事说的就是，有时候咱别光追求那些看着高大上的东西，真正的生活还是平平常常、实实在在的好。
就像家里那些老物件，能用在日常生活里，那才有价值，光摆着好看有啥用？咱过日子得脚踏实地，别整那些虚头巴脑的。
这故事出自艾丽斯·沃克的手笔，她写这故事就是想让咱明白，生活的真谛就在那些日常的点点滴滴里，别瞎折腾，别光追求表面的光鲜。
咱得实实在在地过日子，珍惜身边那些普普通通却又实实在在的东西。
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her works’ focus
1.th e s tru g g le s o f b la c k p e o p le , p a rtic u la rly w o m e n 2.B la c k p e o p le ’s liv e s in a ra c is t, s e x is t, a n d v io le n t s o c ie ty 3.th e ro le o f w o m e n o f c o lo r in c u ltu re a n d h is to ry
Selected awards and honors
O . H e n ry A w a rd fo r "K in d re d S p irits " 1985. H o n o ra ry D e g re e fro m th e C a lifo rn ia In s titu te o f th e A rts (1995) A m e ric a n H u m a n is t A s s o c ia tio n nam ed her as "H u m a n is t o f t h e Y e ar" (1997)
On March 8, 2003, on the eve of the Iraq War, Alice Walker and 5,000 activists associated with the organizations Code Pink and Women for Peace marched to the White House and encircled the White House
Detail information
P e rs o n a l life
W ritin g c a re e r
Alice walker
a c tiv is m
A w a rd s and
Personal life
Walker began writing, very privately, when she was eight years old. In 1952, Walker was accidentally wounded in the right eye by a shot and she had become permanently blind in that eye. After high school, Walker went to Spelman College in Atlanta on a full scholarship in 1961 and later transferred to Sarah Lawrence College near New York City, graduating in 1965.
LESSON 4 EVERYDAY USE Alice walker
组员 张铭芝 王海霞 王翠萍 李丽娜 刘 宇 张 凯
S im p le In tro d u c tio n
Name:
Alice walker Birthday : February 9, 1944 Birth place: Putnam County, Georgia, united States Spouse :Melvyn Rosenman Leventhal (married 1967, divorced 1976) Partners: Robert Allen, Tracy Chapman Child: Rebecca Walker
Writing career
Walker's first book of poetry was written while she was a senior at Sarah Lawrence. The Third Life of Grange Copeland 1970 Meridian 1976 The Color Purple1982 She also published a number of collections of short stories, poetry, and other published work.
In 2007, Walker gave her papers, 122 boxes of manuscripts and archive material, to Emory University's Manuscript, Archives, and Rare Book Library
W ritin g c a re e r
activism
"When you terrorize people, when you make them so afraid of you that they are just mentally and psychologically wounded for life -that's terrorism." ---Alice Walker
activism
Alice Walker met Martin Luther King Jr. when she was a student at Spelman College in Atlanta in the early 1960s. She marched with hundreds of thousands in August in the 1963 March on Washington
Occupation: Novelist, short story writer, poet, political activist Notable work： The Color Purple Notable awards : Pulitzer Prize for Fiction 1983 National Book Award1983
T h e F ro n t P a g e A w a rd fo r B e s t M a g a z in e C ritic is m fro m th e N e w s w o m a n 's C lu b o f N e w Y o rk In d u c tio n to th e C a lifo rn ia H a ll o f F a m e in T h e C a lifo rn ia M u s e u m fo r H is to ry , W o m e n , a n d th e A rts (2006) D o m e s tic H u m a n R ig h ts A w a rd fro m G lo b a l E x c h a n g e (2007)