narrator, the other children and Granddaddy all recognize that at any moment Granny might "bust through that screen with somethin in her hand and murder on her mind” aiming in the direction of the filmmakers.

Granny also resents the filmmakers because they appear to be investigating the extent of her wealth (or lack thereof).

For example, the cameraman takes pictures of the pecan barrels, the sled, the printed stones along the driveway, the trees, and the toolshed. It never occurs to the filmmakers that they are infringing on Granny's privacy. It also never occurs to the men that they may be insulting the property owner by their focus on material objects.

When the filmmakers comment that Granny has "nice things," she counters with “I don’t know about the thing, the it, and the stuff . . . just people here is what I tend to consider.” Granny feels resentful because the men appear focused on gathering information to use for or against the food stamp program. The author does not tell us about the exact motives of the filmmakers.

The filmmakers also ask intrusive and patronizing questions. They appear to hint that the food stamp program may not be necessary after all.

"We’re filmin for the county, see. Part of the food stamp campaign. You know about the food stamps?” Granny said nuthin. “Maybe there’s somethin you want to say for the film. I see you grow your own vegetables,” he smiled real nice. “If more folks did that, see, there’d be no need—”

In all, the filmmakers have chosen to ignore Granny's wishes and have treated her with little respect. Thus, their actions fuel resentment on Granny's part.

In "Blues Ain't No Mockin Bird," Granny resents the filmmakers and cameraman for several reasons, and they are all good and right reasons. First, after asking if they could film her and her family as part of a documentary and being told "No," they continued to try to cajole and persuade her against her wishes. This is highly disrespectful.

Second, they continued to affront her by remaining on her property, property that she and Granddaddy owned. Third, they insisted on filming against her express wishes and after clearly have permission denied. This all gives Granny sound moral and legal reason to resent the intrusion of the filmmakers and cameraman on her property and in her family's life.

In Toni Cade Bambara's short story "Blues Ain't No Mockin Bird," the two men with the camera approach Granny expecting her to be very obliging. Instead, Granny uses facial expressions to let the men know they are not welcome and says things to send them the message that they are invading people's privacy and being disrespectful towards people.

When one of the men first approaches Granny and explains he thought he would film the house, the narrator informs the reader that "Granny cut him off. And smiled that smile," which must be a very frosty, superficial smile. After receiving such a frosty smile, the man hangs his head in shame but still pursues his interests. This time, he approaches his conquest by complementing Granny on her home, saying, "Nice place you got here, aunty," and, "Nice things here."

Granny continues to use facial expressions to relay her displeasure, this time "talkin with her eyebrows" raised as she questions his actions. In addition, she gives a response to his compliments, which she detects are not genuine compliments, by expressing her opinion that they are invading her privacy and being disrespectful:

I don't know about the thing, the it, and the stuff ... . Just people here is what I tend to consider.

Through her curt response that emphasizes people, Granny shows just how much she values the needs of people above all else and indicates that the men are not valuing people to the same degree, because they are being disrespectful by invading her home and privacy.

Granny makes certain from the beginning that the men know that she is in charge of her own property. When one man casually, smiling, tries to explain to her what he'd like to capture on film, she cuts him off. She doesn't care what the explanation is, and she isn't afraid to confront these men in her yard. Cutting people off in conversation shows a sense of power and importance. (That's why interrupting is so strongly discouraged in good manners from the time kids are young.)

Granny also conveys quite a bit through her facial expressions. She lifts them as she speaks, indicating both that she questions their intentions and that she is a serious force in this conversation. When the men tell her that they like her "nice things," she replies,

“I don’t know about the thing, the it, and the stuff,” said Granny, still talkin with her eyebrows. “Just people here is what I tend to consider.”

Her facial expressions here add additional strength to the message she is conveying.

When a different man tries to persuade Granny to allow him to film her property and tries to slyly convey her permission ("Mind if we shoot . . . ?" conveys a sense that permission is already granted, almost like a rhetorical question), he is met with

“I do indeed,” said Granny with no smile.

Granny has now lost her sense of pleasantries. Her smile has disappeared, and she is not being cordial. After explaining that she is not interested in their little project through both actions and speech, she expects the men to leave.

In short, Granny conveys through words and actions that she is a strong woman who won't cave to their desires for using her property.