Tell Me a Riddle is Tillie Olsen’s greatest achievement as a writer of fiction. This novella expands upon themes that Olsen developed in her earlier stories and adds new insights into relationships between married couples and the experiences of women.
The initial conflict in the novella is between Eva and her husband, David. Now that they have reared their family and all the children have established their own homes all over the country, their forty-seven-year marriage reaches a point of crisis. Eva’s husband wants to sell the house and move into a retirement home, the Haven (a particularly appropriate metaphor for his need for a safe harbor from the lifetime of poverty and crushed expectations). His desire for freedom is really a desire for security. Eva seeks freedom too, but she defines freedom as “never again to be forced to move to the rhythms of others.” She wishes “at last to live within.” She perceives her husband’s plan to sell the house as another in a long list of decisions that will continue her subservience to his will. Now, in old age, she makes a final stand against that form of bondage.
Their children are shocked at the dispute, and they have little sympathy for Eva’s need to develop her inner life. When she becomes ill, they attribute it to lethargy and psychosomatic causes; then her illness is diagnosed as a malignant cancer, and she is given only a year to live. Her children rally around her and suggest that David take her to visit the various children and grandchildren. Although he is dismayed at the expenses required by these travels, he acquiesces and tries to be a cheerful and helpful companion.
Eva wants more than anything to find the solitude that will reconcile her to the deprivations of the past. She finds that inner peace partly through her interactions with a granddaughter, Jeannie, who is to some extent Eva’s alter ego; that is, she is a young woman who believes that she has the power of choice in her life. Her self-fulfillment will not be thwarted by submission to male choices. She is the perfect attendant for Eva’s last days. She takes care of Eva’s physical needs, records the old woman’s beauty through a series of sketches, and assists David in staying with his wife to the end.
Eva’s truest inner peace and most perfect expression of solitude, however, comes as her mind returns to her roots as a child and young woman in Russia during the turbulent years at the turn of the century, when czarist oppression was felt by the peasant classes. She has two key memories that sustain her: One is of herself as a young woman. At that time she was a member of the resistance, fighting the czarists. She shared a cell with Lisa, who was a patriot for the anticzarist forces. Lisa killed an informer in order to save the lives of many of her comrades, even though that action led to her own death. Lisa was Eva’s hero; she inspired Eva to consider larger social and political issues. To Eva, Jeannie is a modern-day version of Lisa.
Eva’s other memory which sustains her in the face of death is a memory of being a child in Russia and dancing joyously at a country wedding. That image of a dancing child suggests a moment of perfect freedom before the girl child becomes a woman and is compelled to submit to social forces that require her to fulfill narrow roles. In a sense, then, Eva goes back to her childhood in order to reconcile the lifelong compromises she made with her own needs of identity and self-fulfillment. The novella ends with a hopeful tone, because even in death there is an affirmation of the beauty and timelessness of that inner peace that Eva sought so courageously in the last year of her life.
At one point in the novella, Eva notes that when her husband played with the grandchildren he “knew how to tickle, chuck, lift, toss, do tricks, tell secrets, make jokes, match riddle for riddle.”...
(The entire section contains 1262 words.)
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