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Yonnondio
Yonnondio follows the heartbreaking path of the Holbrook family in the late 1920s and the Great Depression as they move from the coal mines of Wyoming to a tenant farm in western Nebraska, ending up finally on the kill floors of the slaughterhouses and in the wretched neighborhoods of the poor in Omaha, Nebraska. Mazie, the oldest daughter in the growing family of Jim and Anna Holbrook, tells the story of the family's desire for a better life – Anna's dream that her children be educated and Jim's wish for a life lived out in the open, away from the darkness and danger of the mines. At every turn in their journey, however, their dreams are frustrated, and the family is jeopardized by cruel and indifferent systems.
Silences
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Tillie Olsen
In the four pieces gathered in her 1962 collection, Tell Me a Riddle - "I Stand Here Ironing", "Hey Sailor, What Ship?" "O Yes", and the title piece - and in the 1970 story "Requa I", Olsen addresses the problem of how to interpret the experiences - or as she would call them, "life comprehensions" - of those living outside the mainstream culture in a form - literature - whose very nature has been defined by that same culture. The result, writes Joanne Frye in this ambitious study of Olsen's short fiction, is a small body of work, with many layers densely packed, that conveys with lyricism and keen perception both the grace and the hardship inherent in people's daily lives. Frye's assessment also includes a comprehensive survey of the scholarship on Olsen as it grew from a scattered, mostly positive response to her artistry in the politically conservative 1950s and early 1960s to a feminist outpouring as the women's movement took hold in the late 1960s and the 1970s. More recent studies of Olsen's work complement the earlier criticism with more direct investigations of its biographical and political underpinnings.
Silences
A landmark survey of disenfranchised literary voices and the forces that seek to silence them—from the influential activist and author of Tell Me a Riddle. With this groundbreaking work, Olsen revolutionized the study of literature by shedding critical light on the writings of marginalized women and working-class people. From the excavated testimony of authors’ letters and diaries, Olsen shows us the many ways the creative spirit, especially in those disadvantaged by gender, class, or race, has been suppressed through the years. Olsen recounts the torments of Herman Melville, the shame that brought Willa Cather to a dead halt, and the struggles of Olsen’s personal heroine Virginia Wool...
Tillie Olsen
In Tillie Olsen: One Woman, Many Riddles, Panthea Reid examines the complex life of this iconic feminist hero and twentieth-century literary giant. Born in Omaha, Nebraska, Tillie Olsen spent her young adulthood there, in Kansas City, and in Faribault, Minnesota. She relocated to California in 1933 and lived most of her life in San Francisco. From 1962 on, she sojourned frequently in Massachusetts, New Hampshire, Santa Cruz, and Soquel, California. She was a 1920s "hell-cat"; a 1930s revolutionary; an early 1940s crusader for equal pay for equal work and a war-relief patriot; an ex-GI's ideal wife in the later 1940s; a victim of FBI surveillance in the 1950s;a civil rights and antiwar advoca...
Tell Me a Riddle, Requa I, and Other Works
A collection of works, both fictional and non-fictional, gathered together here for the first time --
Tillie Olsen and the Dialectical Philosophy of Proletarian Literature
Contrary to previous studies of Tillie Olsen’s writing, Tillie Olsen and the Dialectical Philosophy of Proletarian Literature analyzes the impact of one of the most important philosophies of the last century, dialectical materialism, on the form and content of Olsen’s fiction. By revealing the unconceptualized dialectics of Olsen’s work and its appreciation by scholars and casual readers, this study achieves a dialectical synthesis that incorporates and extends the insights of and about Olsen in terms of dialectical materialism. By foregrounding Olsen’s dialectical approach, it explains and largely resolves apparent contradictions between her Marxism and feminism; her depictions of class, race, and gender; the literature of her earlier and later periods; and her use of realist and modernist literary forms and techniques. Consequently, this project makes a case for the importance of Olsen’s Marxist education during the “Red Decade” of the 1930s and within the U.S. proletarian literary movement.
Life in the Iron-Mills
Before Women Had Rights, They Worked - Regardless. Life in the Iron Mills is a short story (or novella) written by Rebecca Harding Davis in 1861, set in the factory world of the nineteenth century. It is one of the earliest American realist works, and is an important text for those who study labor and women's issues. It was immediately recognized as an innovative work, and introduced American readers to ""the bleak lives of industrial workers in the mills and factories of the nation."" Reviews: Life in the Iron Mills was initially published in The Atlantic Monthly, Vol. 0007, Issue 42 in April 1861. After being published anonymously, both Emily Dickinson and Nathaniel Hawthorne praised the work. Elizabeth Stuart Phelps Ward was also greatly influenced by Davis's Life in the Iron Mills and in 1868 published in The Atlantic Monthly""The Tenth of January,"" based on the 1860 fire at the Pemberton Mills in Lawrence, Massachusetts. Get Your Copy Now.
The Equivalents
FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD In 1960, Harvard’s sister college, Radcliffe, announced the founding of an Institute for Independent Study, a “messy experiment” in women’s education that offered paid fellowships to those with a PhD or “the equivalent” in artistic achievement. Five of the women who received fellowships—poets Anne Sexton and Maxine Kumin, painter Barbara Swan, sculptor Marianna Pineda, and writer Tillie Olsen—quickly formed deep bonds with one another that would inspire and sustain their most ambitious work. They called themselves “the Equivalents.” Drawing from notebooks, letters, recordings, journals, poetry, and prose, Maggie Doherty weaves a moving narrative of friendship and ambition, art and activism, love and heartbreak, and shows how the institute spoke to the condition of women on the cusp of liberation. “Rich and powerful. . . . A love story about art and female friendship.” —Harper’s Magazine “Reads like a novel, and an intense one at that. . . . The Equivalents is an observant, thoughtful and energetic account.” —Margaret Atwood, The Globe and Mail (Toronto)
