Critical Essay of “I stand Here Ironing”
Tillie Olsen presents in “I Stand Here Ironing,” the story a mother’s meditation regarding her attitudes when she was rising Emily, her first child. The story focuses in the early 1950’s, but it constantly moves to the years of the American Great Depression in the 1930s when she gave birth to Emily and the time of World War II in the 1940s. Olsen was born in 1912 and was the second daughter of a Russian Jews couple. In 1932, she suffered of tuberculosis and during her rest, she spent time writing her first novel “Yonnondio,” yet she interrupted her writing after she had her first daughter. “I Stand Here Ironing” contains several autobiographical elements: Olsen was also a young mother, who faced a number of challenges including being abandoned by her child’s father. “I Stand Here Ironing” by Tillie Olsen tells the story of a woman’s reflections about motherhood and her interior monologue, recreating the time of the American Great Depression when she had her elder daughter, Emily.
In her short story, Olsen’s purpose is to show the vital
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In the 1930s, mothers have an “even more monumental weight on their shoulders,” especially single mothers such as the narrator (“Tillie Olsen’s “I Stand Here Ironing””). Families changed dramatically: the divorce’s rate dropped significantly because of the high cost of the legal procedures, nonetheless, the rate of abandonments increased. The traditional gender roles established men as the “head of the family,” so they were responsible for providing for the family, an immense pressure for many which induced them to abandon their families. The roles in families evolved as a result of the depression since several women had the necessity to find a job to support their families, and the only ones available for females were low-paying
May begins by exploring the origins of this "domestic containment" in the 30's and 40's. During the Depression, she argues, two different views of the family competed -- one with two breadwinners who shared tasks and the other with spouses whose roles were sharply differentiated. Yet, despite the many single women glamorized in popular culture of the 1930's, families ultimately came to choose the latter option. Why? For one, according to May, for all its affirmation of the emancipation of women, Hollywood fell short of pointing the way toward a restructured family that would incorporate independent women. (May p.42) Rosalind Russell in His Girl Friday and Scarlett O'Hara in Gone with the Wind, for example, are both forced to choose between independence and a happy domestic life - the two cannot be squared. For another, New Deal programs aimed to raise the male employment level, which often meant doing nothing for female employment. And, finally, as historian Ruth Milkman has also noted, the g...
Hollingsworth and Tyyska discuss the employment of women in their article, both wage work and work performed outside of the “paid labour force.” (14). They also look at work discrimination of women based on gender and marital status. They argue that disapproval of married women working for wages during the Depression was expressed not only by those in position of power, such as politicians, but also by the general public and labour unions. They suggest that the number of women in the workforce increased as more young wives stayed working until the birth of their first child and older women entered the workforce in response to depression based deprivation. Hollingsworth and Tyyska also give examples of work that married women did that was an extension of their domestic duties such as babysitting for working mothers or taking in laundry. They also state that some women took in boarders, sold extra produce from gardens, or ran make-shift restaurant operations out of their homes.
In contrast to many other Depression-era novels, in which the teamwork of the common man is seen as society's glue, Tillie Olsen's Yonnondio looks with great admiration at one family's struggle to keep above water. Through the travails of a coal-mining/farming family, Anna Holbrook becomes the one constant in a society that turns man against himself, and where fortune is evanescent.
May argues that “the depression thus paved way for two different family forms: one with two breadwinners who shared tasks and the other with spouses whose roles were sharply differentiated.” In the latter form the father would have earned a “family wage” while his wife would have been responsible the children and their home, only working if it was necessary to supplement her husband’s income. This trend was caused mainly by two factors. During the financial strain of the depression, marriage and birth rates were much lower than they had been in the previous decade while the divorce rate was much higher. Young men of the time were afraid that they would not be able to provide for their new families and chose not to get married. While young women on the other hand, encountered an employment boom that allowed them to gain a sense of economic freedom that allowed them to not feel compelled to marry. This new single woman was glamorized by Hollywood during the 1930s. However, families tended toward choosing a life with the husband earning a “family wage” with the wife at home. Why? May concludes, "for all its affirmation of the emancipation of women, Hollywood fell short of pointing the way toward a restructured family that would incorporate independent women." Films from the 1930s like Gone with the Wind and His Girl Friday portrayed strong female leads that had to choose between their independent working life and domestic happiness, as it seemed that both could not coexist in their lives. Another cause for this were the programs implemented during the New Deal Era. Such programs aimed to raise male employment levels and often did nothing for female employment. Men had become embittered during the depression when women
The two works of literature nudging at the idea of women and their roles as domestic laborers were the works of Zora Neale Hurston in her short story “Sweat”, and Charlotte Perkins Gilman’s short story “The Yellow Wallpaper”. Whatever the setting may be, whether it is the 1920’s with a woman putting her blood, sweat and tears into her job to provide for herself and her husband, or the 1890’s where a new mother is forced to stay at home and not express herself to her full potential, women have been forced into these boxes of what is and is not acceptable to do as a woman working or living at home. “Sweat” and “The Yellow Wallpaper” draw attention to suppressing a woman’s freedom to work along with suppressing a woman’s freedom to act upon her
The stories “I Stand Here Ironing” by Tillie Olsen and “Everyday Use” by Alice Walker, are different in many ways, but are also similar. “I Stand Here Ironing” and “Everyday Use” both focus on the relationships of the mother and daughter, and on the sibling’s relationships with each other. Emily from “I Stand Here Ironing” and Maggie from “Everyday Use” have different relationships with their mothers, but have similar relationships with their sisters. Although the stories are similar in that Emily and Maggie are both distant from their sisters, they differ in that the mother is distant from Emily in “I Stand Here Ironing,” while the mother is close to Maggie in “Everyday Use.”
What exactly constitutes a perfect family? Eternal love of parents and siblings? The short stories, “Everyday Use” by Alice Walker and “I Stand Here Ironing” by Tillie Olsen reveal the intricate relationship between the mother and the daughter. In “Everyday Use”, Walker initiates the story with the narrator waiting for her daughter Dee’s visit. When Dee arrives, she tells her mother that she changes her name to Wangero Leewanika Kemanjo and insists of taking the quilt. The narrator refuses to let Dee take the quilt because the quilt belong to her other daughter, Maggie. In Tillie Olsen’s “I Stand Here Ironing”, the narrator is having a conversation with the teacher of her daughter Emily. As the narrator is ironing, she thinks back over her
However, social conditions made it less feasible for families to live this way. As the 1960s approached and consumption was in high demand, women were yet again, forced to join the work force; but only a quarter of the women joined the workforce, whereas in the 1990s about “two-thirds of women who had children were in the work force (Coontz 55). Coontz (1997) explains how by 1973, “real wages were falling for young families, and by the late 1970s, government effectiveness had decreased (Coontz 54). It was because of economic factors that the nuclear bread-winning family could only be a lifestyle a few can afford. Nonetheless, women joining the workforce created a new understanding of women-hood, changed women’s status in society, and created conflict within the household. Women did not have the time to complete all the household tasks which contributed to the increased divorce rates, but left women happier due to the fact that they had that ultimate
As mentioned before, sociologists Coontz and Hochschild further elaborate upon Parsons and Bales’ concepts of the American family, but they mostly critique the idea of the male-breadwinner family. One of the main arguments Coontz and Hochschild present is the decline of the male-breadwinner family due to the economic changes of the United States and the arising social norms of consumerism. Because Parsons and Bales never considered how the changes throughout society would affect family, they believed the male-breadwinner family would continue to be a functional type of family for everyone. However, within her text, “What We Really Miss about the 1950s,” Coontz specifically discusses the major expense of keeping mothers at home as consumption norms...
A main theme in this small town’s culture is the issue of gender and the division of roles between the two. Not uncommon for the 1950’s, many women were taught from a young age to find a good man, who could provide for them and a family, settle down and have children – the ideal “happy family.” As Harry states after singing the showstopper “Kids,” “I have the All-American family: A great wife, 2 wonderful kids and a good job.”
Kuttner also agrees, “a lot of ugly realities were concealed by “traditional values”; the legal and economic emancipation of women was long overdue, and the task now is to reconcile gender equality with the healthy raising of the next generation.” (124). Before the 1890s, females had no other options but to live with their parents before marriage and with their husband after marriage. They couldn’t work and if they did, their wages were way lower than men.
Motherhood in never guaranteed to by easy. Children definitely do not come with instruction manuals and even if they did there are so many variables, such as the national economy and unexpected single motherhood, that are beyond our control. The choices a mother has to make can cause numerous moments of second guessing and immense guilt. “I Stand Here Ironing” explores the perceived failures and gnawing guilt of a post- Depression era mother as she contemplates the childhood circumstances of her oldest, overlooked, and seemingly troubled child. Throughout the story Tillie Olsen takes us through the depths of a mother’s guilt due to pressures of the economy and society on parenting during her time and how much blame she puts on herself for her
During the Great War and the huge amount of men that were deployed created the need to employ women in hospitals, factories, and offices. When the war ended the women would return home or do more traditional jobs such as teaching or shop work. “Also in the 1920s the number of women working raised by fifty percent.” They usually didn’t work if they were married because they were still sticking to the role of being stay at home moms while the husband worked and took care of the family financially. But among the single women there was a huge increase in employment. “Women were still not getting payed near as equally as men and were expected to quit their jobs if they married or pregnant.” Although women were still not getting payed as equally it was still a huge change for the women's
In the short story "I Stand Here Ironing" by Tillie Olsen the conflict between a mother whose giving is limited by hardships is directly related to her daughter's wrinkled adjustment. Ironing, she reflects upon when she was raising her first-born daughter, Emily. The mother contemplates the consequences of her actions. The mother's life had been interrupted by childbirth, desertion, poverty, numerous jobs, childcare, remarriage, frequent relocations, and five children. Her struggling economic situation gave way to little or no opportunity to properly care for and nurture her first-born child. In spite of the attention and love Emily craved and never received, she still survived, and even made strengths, and talents, out of the deprivations she had endured.
Motherhood is a traditional role for women. From the time they are young, girls are taught to grow up, marry and become mothers. Of course they can do other things with their lives like play sports, have careers, and travel, but an overwhelming amount of women want to be mothers no matter what else they accomplish with their lives. It is common knowledge that being a good mother is one of the hardest jobs in the world. It is to forever have a special link with another person or people and have a tremendous influence, maybe the most tremendous influence over their lives. Motherhood is a roller coaster ride for women, full of ups and downs, fears and accomplishments. But what happens when motherhood defines who a woman is? All children grow up, and while a woman is always a mother, children need their mothers less and less until eventually their dependence is very minimal. What happens to the woman whose singular role and purpose is no longer needed? In The Summer Before The Dark, and The Fifth Child, the maternal roles of Kate Brown, and Harriet Lovatt are analyzed and traditional motherhood behavior is deconstructed due to these characters’ experiences and relationships with their children.