Dee is not a part of this kinship of generations as she actively takes herself out of that picture, as Whitsitt points out, during her interlude of Polaroid snapping of everything from her earlier life, but herself, (448-449). She left too early to learn about quilting and sees her past as something holding her back from acquiring the freedom she wants. Dee also fails to see that her mother and sister have their own voices and their own mind, which she confirms with her parting words: "You just don't understand," (321). In short, the writer of this paper argues that Dee partly rejects and is partly blind to the real significance of these quilts besides their artistic value and the fact that preserving them would reaffirm to her acquaintances her intellectual superiority over her family and would be reminder of her journey to her present place in society. To her they are a memento of her personal past while Cash points out that they mean so much more. They are resources in reconstructing the cultural and political past of African American women, (Cash 30). They show history from their point of view and they are a part of the common cultural heritage of African Americans, (Cash 31). Quilting was something that kept Black women sane during their slavery (Cash 31), could provide and out from slavery by a way to pay for their freedom, (Cash 33), it was a way to support moral, political and reform issues, (Cash 32) and, finally, Cash also claims that it provided a sense of accomplishment and identity for black women and gave them the physical and, more importantly, psychological strength to survive (35). As Dee rejects her African American heritage and does not care much about the family history of the quilts, she basically rejects their real value as she rejects her name without seeing that she rejects her real past for a falsely constructed, but at the moment fashionable, one.