Walker describes Dee in her flamboyant yearning for wealth and power: "Earrings gold, too, and hanging down her shoulders. Bracelets dangling and making noises when she moves her arm up to shake the folds of her dress out of her armpits" (p. 91; par. 20). This illustrates the way that Walker is projecting the sociological ramifications of Dee's character, and how she presents herself as superior to how she was raised. Dee's embarrassment of her upbringing causes the tension that arises in the tale. .
The family has certain reactions to Dee's behavior, as she is clearly taking an abject liking to her "humble" beginnings when the discussions of the quilts arise. The political implications here resonate with the ideas of Dee and the cultural value of the quilts, as the family actually considers giving them to Dee because of her newfound "high" status in the nineteen sixties culture. Although Maggie is intimidated enough to surrender the beloved quilts to Dee, the mother feels a sudden surge of rebellion: " [I] snatched the quilts out of Miss Wangero's (Dee) hands and dumped them in Maggie's lap" (Walker, 94; par. 76). She offers Dee some machine-sewn quilts, to which Dee refuses. In arrogance and disappointment, Dee turns to leave, and in parting tells Maggie that they are still living a primitive lifestyle. In response, they allow Dee to go, and they spend the rest of the evening sitting in the yard, not caring a wink about what Dee said. .
The political climate of the story reveals a more respectful Dee in light of acceptance of hardships of African-Americans in the period of time the tale takes place. Everyday Use is set in the late sixties, a time when African-Americans were struggling to define their personal identities in cultural terms. There were many black-pride groups forming, and the term "Negro" had been replaced with "Black". Many African-Americans yearned to rid themselves of American heritages, which were filled with pain and injustice, by embracing African culture.
