The Great Depression

In "I Stand Here Ironing," the narrator describes her daughter as "a child of her age, of depression, of war, of fear." Although the story was published in 1961, it is often associated with the Depression era and the socially-conscious literature of the 1930s. Whether or not Olsen's 1961 work closely resembles writings from the 1930s, the Great Depression continued to influence the American psyche long after the decade ended. Even in the more affluent 1950s and 1960s, many people vividly remembered the severe hardships caused by the economic collapse of the 1930s and feared a recurrence. The difference in values between those old enough to recall the Depression and the younger generation who did not experience it has often been cited as a significant factor in the "generation gap" that characterized America in the 1960s.

Many individuals who endured the Depression, including Olsen, were radicalized by their experiences and joined communist and socialist movements. The U.S. government initiated extensive efforts to provide relief to the poor through programs like the Work Projects Administration (WPA). Writers from that period, such as John Steinbeck, Katherine Anne Porter, and Richard Wright, aimed to inspire reform by realistically depicting the struggles of the poor in their literature.

The Eisenhower Era

The relatively prosperous 1950s were marked by increasing conservatism and a mistrust of radical intellectuals. Following the victory in World War II and the dropping of an atomic bomb on Japan, the United States entered a Cold War stand-off with the Soviet Union. Many felt it was crucial to eliminate radicals within the U.S. and neutralize the perceived "threat" they posed. This led to the infamous House Un-American Activities Committee (HUAC) hearings, a series of public "trials" targeting suspected American Communists, most notably conducted by Senator Joseph McCarthy. These hearings are now seen as one of the darkest periods in American history. Before Senator McCarthy was exposed for falsifying evidence and violating the civil rights of the accused, the lives and reputations of hundreds of innocent people were destroyed.

The 1950s also saw a rapid growth of the middle class and the rise of suburban living. Some view this era as one of strict conformity. For many women who had worked outside the home during World War II, returning to the role of housewife felt particularly oppressive. The frustration and anger of suburban, middle-class housewives significantly contributed to the "women's liberation" and feminist movements of the 1960s, especially after the publication of Betty Friedan's The Feminine Mystique.

The narrative unfolds in the late 1950s or early 1960s, within the modest household of the narrator. As she stands by the ironing board, she contemplates her bond with her firstborn daughter.

"I Stand Here Ironing" unfolds as a poignant exploration of a mother-daughter relationship. The narrative is set in motion through the mother's internal monologue, offering readers a vivid window into her mind. As the mother reflects on her daughter Emily's life, she grapples with questions about her own role and the impact of societal expectations on both their identities.

Interior Monologue and Stream-of-Consciousness

The story's core is constructed through the mother’s interior monologue, seamlessly blending into a stream-of-consciousness format. While ironing her daughter’s dress, the mother ponders a request from an unidentified figure—likely an educational or social authority—seeking insight into Emily's behavior. This reflection prompts a cascade of memories, fantasies, and questions, all woven into a narrative tapestry that deftly captures the complexity of their relationship.

Olsen’s choice of a first-person perspective enables the story to delve deeply into the narrator’s psyche, presenting her thoughts with raw honesty. The initiation of the narrative, marked by the second-person pronoun "you," creates a conversational yet intimate tone. The mother’s reflections are tinged with doubt, as she questions her ability to fully understand or articulate her daughter’s inner world, contemplating whether her insights "matter or... explain anything."

Narrative Structure and Symbolism

The narrative structure not only provides dramatic tension but also reveals the narrator’s repressed and conflicted character. Through her monologue, readers observe the mother’s introspection interrupted by her daily responsibilities, illustrating the relentless demands of motherhood: "Ronnie is calling. He is wet and I change him." Such interruptions heighten the sense of her dual paradox—she possesses profound insights into both herself and her daughter but chooses to withhold them from others, including the person who asked her to "come in and talk."

Central to the story is the symbolic act of ironing, which serves as a metaphor for the narrator’s life and broader social roles. This repetitive, often mundane task reflects attempts to smooth out life’s wrinkles and imperfections, embodying the frustrations and aspirations of the narrator. Emily’s observation that her mother’s portrait should depict her "standing over an ironing board" rather than seated in a chair, like Whistler's famous painting, underscores this symbolism. The act of ironing becomes emblematic of the mother’s hope for Emily to break free from societal constraints and recognize her own potential beyond "this dress on the ironing board, helpless before the iron."

Language and Imagery

Olsen’s narrative technique is particularly notable for its skillful use of language and imagery to render the mother’s voice authentic and compelling. Through run-on sentences and inventive expressions such as "I think of our others in their three-, four-year-oldness," she captures the chaotic rhythm of the narrator’s thoughts and life. These stylistic choices evoke the intrinsic challenges of answering the unanswerable and navigating the tumult of everyday existence.

The simplicity of the imagery used in the narrative belies its emotional depth. Ironing, a familiar task associated with traditional female roles, becomes a powerful symbol of the narrator's aspirations and disillusionments. It suggests a more grounded vision of motherhood, detached from idealized representations, while maintaining a focus on palpable, lived experiences.

Ultimately, "I Stand Here Ironing" offers a resonant reflection on the complexities of motherhood and identity. Through its innovative narrative style and profound symbolism, the story illuminates the struggles and resilience inherent in familial bonds, all while maintaining a stark yet accessible connection with the reader.

1963: Betty Friedan releases The Feminine Mystique, a seminal work in the modern women's movement. In this book, Friedan highlights how women are treated as second-class citizens in contemporary society.

1994: Mary Pipher's Reviving Ophelia is published, showcasing the pressures adolescent girls face to adhere to rigid societal norms that often conflict with their true selves.

1960: 39 percent of married women in the United States are employed outside the home.

1995: 61 percent of married women in the United States are working outside the home.

1964: President Lyndon B. Johnson announces a "national war on poverty" and establishes the Office of Economic Opportunity. This office oversees programs like Job Corps and Head Start, which provides early education and support to low-income, at-risk children.

1994: A Republican-led Congress, headed by House Speaker Newt Gingrich, declares a national war on welfare and proposes reinstating orphanages.

"Tell Me a Riddle" (1961) is an acclaimed story by Tillie Olsen that explores the sacrifices a Jewish immigrant couple endures to keep their marriage intact.

Bauer, Helen Pike. '"A Child of Anxious, Not Proud, Love': Mother and Daughter in Tillie Olsen's 'I Stand Here Ironing.'" In Mother Puzzles: Daughters and Mothers in Contemporary American Literature. Edited by Mickey Pearlman. New York: Greenwood Press, 1989, pp. 35-39. Bauer examines the intricate mother-daughter relationship depicted in "I Stand Here Ironing."

Frye, Joanne S. '"I Stand Here Ironing': Motherhood As Experience and Metaphor." Studies in Short Fiction 18 (Summer 1981): 287-92. Frye contends that the theme of identity is a pervasive element in Olsen's "I Stand Here Ironing."

Garrett, Kathleen Grimm. "Tillie Olsen: Overview." In Reference Guide to American Literature. Third Edition. Edited by Jim Kamp. Detroit: St. James Press, 1994. This entry provides a comprehensive overview of Olsen's literary career and body of work.

Kamel, Rose. "Literary Foremothers and Writers' Silences: Tillie Olsen's Autobiographical Fiction." Melus 12 (Fall 1985): 55-72. Kamel discusses the recurring themes found throughout Olsen's autobiographical fiction.

Kloss, Robert J. "Balancing the Hurts and the Needs: Olsen's 'I Stand Here Ironing.'" Journal of Evolutionary Psychology 15 (March 1994): 78-86. Kloss delves into the emotional neglect experienced by the daughter in "I Stand Here Ironing."

Lyons, Bonnie. "Tillie Olsen: The Writer as a Jewish Woman." Studies in American Jewish Literature 5 (1986): 89-102. Lyons posits that Olsen's identity as a woman has a greater impact on her writing than her Jewish heritage.

Piedmont-Marton, Elisabeth. "An Overview of 'I Stand Here Ironing.'" In Reference Guide to American Literature. Edited by Jim Kamp. Detroit: St. James Press, 1994. Piedmont-Marton analyzes the autobiographical elements in "I Stand Here Ironing" and highlights the diverse array of characters in Olsen's works.

Rose, Ellen Cronan. "Limming: or Why Tillie Writes." The Hollins Critic XIII (April 1976): 1-13. Rose explores Olsen's motivations and techniques, praising her ability to portray both male and female characters.

Wolfe, Kathy. '"Coming to Writing' through the Impressionist Fiction of Tillie Olsen." In Midwestern Miscellany XXI. Edited by David D. Anderson. East Lansing, MI: Midwestern Press, 1993, pp. 57-67. Wolfe contrasts "I Stand Here Ironing" with "Hey Sailor, What Ship?" and investigates Olsen's recurring theme of hope in both stories.

Sources

Atwood, Margaret, "Obstacle Course," in The New York Times Book Review, July 30, 1978.

Elman, Richard M., "The Many Forms Which Loss Can Take," in Commonweal, Vol. LXXV, no. 11, December 8, 1961, pp. 295-296.

Fisher, Elizabeth, "The Passion of Tillie Olsen," in The Nation, April 10, 1972, pp. 472-474.

O'Connor, William Van, "The Short Stories of Tillie Olsen," in Studies in Short Fiction, Vol. 1, no. 1, Fall 1963, pp. 21-25.

Pearlman, Mickey and Abby Werlock, Tillie Olsen, edited by Warren French, Twayne, 1991.

Further Reading

Faulkner, Mara, Protest and Possibility in the Writing of Tillie Olsen, University Press of Virginia, 1993, pp. 1-34.
Faulkner explores the political themes in Olsen's work and how they reflect the lives of marginalized individuals.

Frye, Joanne S., Tillie Olsen: A Study of the Short Fiction, Twayne, 1995, pp. 3-36.
This study delves into Olsen's stories, highlighting connections to her personal experiences and those of her readers.

Orr, Elaine Neil, Tillie Olsen and a Feminist Spiritual Vision, University Press of Mississippi, 1987, p. 193.
Orr analyzes Olsen's writings through a feminist lens.