We are lead to question Dee’s sincerity when it comes to the acquisition of the items. Mama, our narrator, reminds us on how Dee hated the childhood house they used to live in and was joyful when it burnt down. Dee was embarrassed by Mama and the house, not wanting to bring friends over for introductions. She also tells us that when Dee was first going away to college, she offered her the very same quilts she now wanted to take and cherish. At the time, Dee abruptly refused them claiming they are “old-fashioned, out of style.” One can argue that the new-found appreciation for the family heirlooms is just part of the trend. That Dee can be seen as falsely affirming herself and becoming manipulated by the movement. Seeing that is it “cool” to have lived the struggle, that she came through by showing off her heritage through the art of hand stitched quilts made by her aunt. It seems as if she wants to gain respect from others following the movement by hanging and using these objects as art pieces rather than the circumstances onto why they were made. Furthermore, at the beginning of the story, she snaps a picture of Mama and Maggie on the front porch. This is done after Mama describes herself as a “large, big-boned women with rough, man working hands,” one of the reasons why Dee never brought anybody over. This is done to further disrespect Dee’s own childhood, using it as a sort of ‘show and tell’, objectifying Mama and Maggie grouping them in the same category as the quilts, perhaps because she has missed out on the struggle of her heritage not learning the traditions of her ancestors.