Summary (Magill's Survey of American Literature, Revised Edition)
The manuscript of Yonnondio: From the Thirties was lost to Tillie Olsen for more than thirty years before being accidentally discovered by her husband, who was looking for other papers. A portion of the novel had been published in 1934 in The Partisan Review, a journal devoted to socialist writing. Although the story was well received by critics, Olsen never completed the novel. Instead, she reared a family of four children and worked at part-time jobs for most of her adult life until the 1961 publication of Tell Me a Riddle. This collection of stories led to the discovery of Tillie Olsen as a major literary talent, and it made the publication of Yonnondio an important addition to her works. Olsen decided not to add to or substantially revise the manuscript. At the conclusion of the eight chapters of this unfinished novel, Olsen adds the following note: “Reader, it was not to have ended here, but it is nearly forty years since this book had to be set aside, never to come to completion.”
The title is taken from a poem by Walt Whitman called “Yonnondio.” In the poem, Whitman laments the passing of the great American Indian nations in the face of the white man’s advance. After recalling the contributions of these peoples, Whitman concludes the poem, “Then blank and gone and still, and utterly lost.” That line could serve as a description of the middle years of Olsen’s career: Although she began to develop...
(The entire section is 1149 words.)
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Summary (Masterplots II: American Fiction Series, Revised Edition)
The plot of this short novel is simple and incomplete. Jim and Anna Holbrook and their growing family move from a small Wyoming mining town to a farm in South Dakota and finally to Omaha, Nebraska, always in search of work and the elusive realization of their dreams for a settled and secure life. Their quest is frustrated at every turn by the power of circumstance: by bad weather and worse luck and by the social and economic forces that are beyond their control in the West of the 1920’s. In Wyoming, a drunken miner tries to throw Mazie down a mine shaft to appease the fierce gods he believes inhabit that dark place—and falls in himself instead. In South Dakota, they cannot work hard enough to make their small tenant farm profitable. In Omaha, after months of working in sewers for subsistence wages, Jim finally gets work in a meat-packing house—and Anna has a miscarriage and nearly dies. The novel breaks off abruptly at this point, where Tillie Olsen stopped writing it in 1937. She had planned to follow the lives of Mazie and her brother Will into the 1930’s and to show the influence of these early years as the two became adults in the struggles of the Depression. When she rediscovered and reassembled the manuscript in the early 1970’s, however, she decided to add “no rewriting, no new writing,” as she explains in a note at the end. The novel is thus a brilliant fragment, evocative but finally incomplete.
Like many other proletarian novels of...
(The entire section is 691 words.)
Summary (Masterplots, Fourth Edition)
Anna and Jim Holbrook and their four children—Mazie, Will, Jimmie, and baby Ben—live in a rural Wyoming coal-mining community, where Jim toils as an underground miner. They survive somehow in abject poverty, with most of Jim’s wages paid in scrip, usable only at the company store. Jim uses much of the rest of his wages on liquor to cope with the physical and mental strain of long hours underground. The townspeople live in dreaded anticipation of the whistle that announces another underground explosion and cave-in and the death of more miners. They all worry because the mine superintendent’s nephew, the new fire boss, never makes the trips to detect the possible presence of methane gas, which explodes when built up.
While Anna slaves with the housework and child care and futilely dreams of an education and better life for the children, Jim dreams the same while he labors for coal that should be red, not black, because it is gotten with the blood of miners. Mazie wonders about education and why blackness is so prevalent—the coal, the miners’ faces and hands, the night—and contrasts it with fire and the sun and the redness of Sheen McEvoy’s face, which had been blown off in an explosion, making him crazy.
The earth sucks Jim in to haul out coal to make the rich richer, but Jim and Anna plan to leave the mines for farming in the Dakotas. Before they can go, however, McEvoy grabs Mazie and carries her to a mine shaft. In his...
(The entire section is 782 words.)