CRITICAL ANALYSIS OF THIS IS S A PHOTOGRAPH OF ME

AND I STAND HERE IRONING

NOOR UL AIN
22016
ENGLISH 7TH SEMESTER
INTRODUCTION TO WOMEN’S WRITING
SUBMITTED TO: MA’AM FAIZA KHAN
GOVERNMENT POSTGRADUATE COLLEGE FOR WOMEN
HARIPUR
 THIS IS A PHOTOGRAPH OF ME
BY MARGARET ATWOOD

It was taken some time ago.

At first it seems to be
a smeared
print: blurred lines and grey flecks
blended with the paper;

then, as you scan

it, you see in the left-hand corner
a thing that is like a branch: part of a tree
(balsam or spruce) emerging
and, to the right, halfway up
what ought to be a gentle
slope, a small frame house.

In the background there is a lake,

and beyond that, some low hills.

(The photograph was taken

the day after I drowned.

I am in the lake, in the center

of the picture, just under the surface.

It is difficult to say where

precisely, or to say
how large or small I am:
the effect of water
on light is a distortion

but if you look long enough,

eventually
you will be able to see me.)

INTRODUCTION OF AUTHOR

Margaret Eleanor Atwood born on November 18,1939. Margaret Atwood, a canonical

major contemporary writer of fiction and poetry as well as literary and cultural criticism, is
widely regarded as one of the most prolific and highly versatile authors of Canadian and world
literature. She has published 18 books of poetry, 18 novels, 11 books of nonfiction, 9
collections of short fiction, 8 children's book and 2 graphic novels. Atwood has won
numerous Awards and honors for her writings like Booker price (twice) Arthur C Clarke award,
Governor General award, Franz Kafka price, National Book Critics and PEN center USA's
Lifetime Achievement Award. She wrote different genres like historical fiction, speculative
fiction science fiction, dystopian fiction.

Atwood in her poetry, as Gina Wisker comments, “deals with respect for the possibilities of
language underpinning her ability to express forms of perceptions and to demystify the
stereotypes, the personal, national or gendered myths and representations by which we
conceive and manage our lives”. Atwood is mostly concerned with the national literature and
the question of female identity and Canadian identity which is the recurring theme in her fiction
and poetry, as well as the landscape of Canada which is a predominant image in her works.
Atwood offers trenchant critiques of the power politics of gender relations, the Enlightenment
and rationalism, and social ideologies in Louis Althusser’s and other modern theorists’ terms,
which are patriarchally constructed to put restraints on women. To this must be added
exploitation and victimization, generally for Canadian people and particularly for women as
the ‘survivals. One of Canada’s best-known and most prolific writers, Atwood has also
published essays, novels, graphic novels, stories, reviews, criticism, children’s books, a play,
and scripts for televisions and radio, in addition to some two dozen collections of poetry. In
her 1972 survey Survival: A Thematic Guide to Canadian Literature, Atwood identifies
survival, particularly of the victimized, as the preeminent concern of Canadian literature.

INTRODUCTION OF THE POEM

“This is a Photograph of Me” is the first poem of Atwood’s first important and mature
collection and a highly acclaimed work among the poems of her best-loved book, The Circle
Game (1966). What in this collection (The Circle Game) is of paramount importance is
Atwood’s romantic attitude and creation of a romantic atmosphere. From a romantic point of
view, Atwood by looking at the external nature is inspired and begins a journey as a quest for
self-knowledge. As a matter of fact, nature acts as a stimulus to her thinking and slipping into
imagination, thus what is more significant is the very imagination not nature as genesis for
inspiration. This is reminiscent of the well-known romantic themes of quest, exile and
exploration of the unknown.

“This is a Photograph of me” portrays a photograph with the setting of wilderness, reminiscent
of her second novel Surfacing (1972), with “a small frame house,” “lake” and the very word
“surface” that is open to different layers of meaning. The serene natural setting presents a
startling contrast to the human tragedy it masks.

Significance of title

At first glance, the title suggests a straightforward, autobiographical piece, drawing the reader
in with its intimate tone. The phrase “This is a photograph of me” implies that the speaker will
reveal something personal, as if she is sharing a self-portrait. This personal, direct phrasing is
disarming, making the reader feel as though they’re entering into a space of familiarity or
intimacy, where the speaker will share a piece of her identity.

However, this personal connection is ultimately an illusion. As the poem progresses, we realize
that the "photograph" does not show the speaker in a typical way; rather, she is hidden beneath
the surface of a lake, and the image only hints at her presence. Thus, the title becomes ironic,
as it suggests completeness and representation but ultimately highlights the inadequacies of the
photograph to capture the full truth of the speaker.

The title also underscores a feminist critique of representation, as the speaker’s submerged
presence reflects the historical tendency to obscure women’s identities, relegating them to the
background of societal narratives. By claiming, “This is a photograph of me,” the speaker both
asserts her existence and highlights her invisibility, exposing the tension between presence
and absence. Through this title, Atwood invites readers to question the limitations of how
individuals, particularly women, are often “pictured” in ways that obscure their depth,
suggesting that much of our true selves lies beyond the surface impressions we project or others
perceive.

Historical Context

Written during the 1960s, the poem reflects an era of intense societal shifts, particularly in
North America, where the feminist movement gained momentum, challenging traditional
gender roles and pushing for women’s rights in the workplace, education, and broader society.
The notion of women’s roles being confined to domestic spaces was prevalent, and Atwood
uses this context to comment on the limitations and restrictions imposed on women,
symbolized by the small, rigidly framed house in the poem.

The 1960s also saw an emphasis on individuality and the questioning of established norms.
This context of emerging social awareness and transformation is woven into the poem’s
imagery and themes, such as the distorted visibility and marginalization experienced by the
speaker. Through these symbols, Atwood critiques the societal invisibility of women’s
struggles, paralleling the feminist discourse of the time which sought to bring women’s voices
to the forefront. The poem’s ambiguous and layered visuals—water that conceals, a lake that
distorts, and a house that confines—also suggest the era’s complex views on gender, identity,
and truth. This reflection of societal roles and limitations thus provides a historical foundation
for the poem’s exploration of women’s erasure and resilience.

ANALYSIS OF POEM

This passage presents a hauntingly layered depiction of memory, identity, and societal
invisibility, offering a distinctly personal reflection on the self’s place within an often
dismissive, patriarchal society. The speaker begins with the image of a “smeared print,” as if
their very existence has faded, worn down by time or disregarded by a world reluctant to truly
see them. This blurred photo, filled with "grey flecks," is not just an artifact but a representation
of a fragmented identity—a person seemingly erased, their details scattered, visible only if
one looks closely enough. The imagery of the tree, the "small frame house," and the lake evokes
an almost pastoral scene, but Atwood’s choice of words like “frame” and “slope” conveys
confinement and restriction, painting these natural elements as symbolic barriers to the
speaker's true self.

As the speaker reveals they are "in the lake, in the center of the picture, just under the
surface," the idea of submerged identity becomes painfully clear. The speaker’s self—her soul,
her essence—is there, present and central, yet hidden “just under the surface,” masked by
water, which symbolically acts as the societal norms and expectations that often keep women
from being fully recognized. Her remark about the "distortion" caused by water on light
highlights how clarity and truth are warped by these external pressures, suggesting that
society’s vision of women is a refraction of their true selves.
The passage ultimately challenges us to “look long enough” to see past the distortion. It is a
powerful call to recognize the full, undistorted humanity of individuals whose identities and
experiences have been buried beneath social expectations. This recognition requires
persistence, patience, and a willingness to challenge the blurred perspectives that have been
imposed on them. Atwood leaves us with a question that lingers just beneath the poem's
surface: Will society ever look long enough to see these hidden depths, or will the reflection
of distorted identity remain, forever submerged and unseen? This intricate balance
between erasure and presence creates a poignant critique of invisibility, an experience both
deeply personal and painfully universal, captured within the fragile medium of memory and
time.

SYMBOLISM

The House

The speaker mentions “a small frame house” in line 12, presenting a seemingly quaint image.
However, considering the feminist themes present in The Circle Game (the collection that
opens with this poem) and Margaret Atwood's broader body of work, this house can also be
seen as a symbol of domestic confinement.

Traditionally, women have been expected to occupy the domestic sphere, a reality particularly
pronounced in the 1960s when this poem was published. The speaker’s description of the house
as “small” suggests limitation, while the term “frame” implies a structure supported by a rigid
wooden frame, indicating inflexibility. Additionally, the house is situated “halfway up / what
ought to be a gentle / slope.” The word “ought” hints that the audience should be able to
recognize the slope in the image, but it also implies that the slope may not be gentle at all,
possibly steep. This can be interpreted as representing an unexpectedly challenging “uphill”
struggle.

In summary, the house symbolizes the arduous and restrictive nature of women’s expected
roles within society, reflecting the confinement and challenges they often face.

Water

In the poem, water serves as a concealing force—something that hides the full reality of the
situation. Initially, water appears in the form of a lake set in a picturesque natural landscape.
However, the audience soon discovers that it conceals the speaker’s lifeless body, which is
submerged “just under the surface.” The speaker further explains that determining the body’s
exact size and location is nearly impossible, even though it belongs to her.

This difficulty in perceiving the body is attributed to “a distortion” caused by “the effect of
water on light.” The speaker suggests that light reflects off the water, warping her likeness in
the photograph. Yet, she frames water as the distorting force, altering light, which is typically
associated with truth and clarity. Ultimately, water renders the speaker imperceptible to the
viewers of the photograph. Thus, within the poem's themes, water symbolizes erasure and
the distortion of truth.

Light

Light makes a brief appearance in line 23 when the speaker explains why her body is so difficult
to discern, stating, “the effect of water / on light is a distortion.” Traditionally, light symbolizes
truth, purity, insight, and clarity. This association aligns with its role in the poem, as water
obscures a critical truth about the image.

Interestingly, light is fundamental in photography, which literally means “drawing with light.”
Photographs capture the amount of light that various sources reflect or emit during a timed
exposure. Therefore, the photograph referenced in the poem can be viewed as a record that
captures both the truth of a specific moment in history and the distortion of that truth.

The Photograph

The photograph itself serves as a powerful symbol of memory and the passage of time. It
captures a moment that is both fixed and transient, preserving the speaker’s existence even as
it simultaneously obscures the truth about that existence. The act of taking a photograph freezes
time, yet the speaker reveals that this frozen moment contains a deeper, more complex reality.

This duality illustrates the conflict between how one is perceived and one’s true self. The
photograph represents history itself, it is blurry, grainy and hard to understand. It conceals the
truth represented by the dead body in the water. If you look hard, you might see the harsh
reality of society peeking through the haze. Thus, the photograph symbolizes both
preservation and distortion, serving as a poignant reminder of the complexities inherent in
memory and identity.

The Tree

In the poem, the tree symbolizes the marginalization of women through its partial
visibility, representing how women's experiences are often overlooked within societal
narratives. Its precarious positioning suggests a fragility that mirrors women's struggles to
assert their identities in a patriarchal society while navigating the pressures of traditional roles.
The deep roots of the tree connect it to heritage and identity, illustrating the weight of
expectations that can limit women's growth and potential. Furthermore, the tree's confinement
within a small frame house highlights the barriers that restrict women's aspirations, reinforcing
the naturalization of gender roles that position them within the domestic sphere. Overall, the
tree serves as a powerful metaphor for the complexities of women's marginalization,
emphasizing the need for greater recognition of their voices and contributions in broader
contexts.

Death

Poet narrating this poem after her death symbolizes that now that she is death she is
free. It symbolizes the freedom from the patriarchy that she got after her death.

LITERARY DEVICES

1. Imagery

• The poem is rich in visual imagery, as seen in descriptions like "blurred lines and grey
flecks" and "small frame house." This creates a vivid picture in the reader's mind,
allowing them to visualize the scene.

2. Metaphor
 • Water serves as a metaphor for obscurity and distortion, representing how societal
perceptions can blur the true identity of individuals, particularly women. The water
“distorts” the speaker's image, reflecting the complexities of visibility and recognition.

3. Symbolism

• The Photograph: The photograph symbolizes memory and truth, capturing a moment
in time while also illustrating the distortion of identity.
• The Lake: The lake symbolizes both a physical barrier and a metaphor for emotional
and social obscurity, hiding the speaker's body from view.
• The Tree: The tree can symbolize growth, stability, and marginalization, reflecting how
women's identities can be overshadowed by societal expectations.

4. Juxtaposition

• The line “I am in the lake, in the center / of the picture, just under the surface”
juxtaposes the idea of being central yet hidden, emphasizing the tension between
visibility and invisibility.

5. Enjambment

• The poem features enjambment, where sentences flow beyond the line breaks. This
technique creates a sense of continuity and movement, mirroring the fluidity of water
and the ongoing nature of the speaker’s experience.

6. Alliteration

• The use of alliteration, as in “smeared print” and “gentle slope,” adds a rhythmic
quality to the poem, enhancing its lyrical aspect.

7. Parenthesis

• The phrase in parentheses, “(The photograph was taken / the day after I drowned),”
serves to interrupt the flow and provide critical context. This device underscores the
dramatic turn in the poem, revealing the speaker’s tragic fate.
8. Tone

• The tone of the poem shifts from observational to introspective and melancholic,
reflecting the complexities of the speaker’s existence and their struggle for
recognition.

THEMES

Identity and Invisibility: The poem deeply explores how women’s identities are often hidden
or overlooked in a male-dominated society. The speaker’s body, submerged in water and barely
visible "just under the surface," symbolizes how women are often pushed into the background
and silenced. Her place in the lake, like a ghostly figure in the photo, suggests a sense of being
disconnected from her true self, almost as if her identity is unclear and fading in society’s view.
Atwood suggests that, even when women are present and active, they are often made invisible
or distorted by society's expectations and norms.

Truth, Distortion, and Perception: The poem's exploration of "the effect of water on light"
as a distorting force critiques how truth is often filtered through societal perceptions. The water,
which distorts the view of the speaker’s body, acts as a metaphor for the roles and limitations
imposed on women, warping their true identities into something that aligns with societal
expectations. Atwood challenges the reader to recognize how these external pressures obscure
the authenticity of women’s experiences, often transforming their lives into a palatable illusion
that fits within accepted narratives.

Domestic Confinement and Social Constraints: The small frame house situated "halfway up
/ what ought to be a gentle / slope" is a crucial symbol of the domestic confinement many
women experience. The home, traditionally seen as a place of comfort and stability, is
reimagined here as restrictive and confining. The house’s “small” size and rigid “frame” reflect
the limited roles women have historically been assigned within the domestic sphere, while the
uphill slope underscores the exhausting effort required to fit into these narrowly defined roles.
This critique connects to the 1960s feminist movement, where women sought to break free
from traditional domestic constraints and redefine their roles beyond the family.

Marginalization in Nature: The tree that is "like a branch" and emerges partially in the
photograph symbolizes the marginalization of women, pushed to the fringes of both society
and the image itself. This peripheral positioning in the landscape suggests that women are often
reduced to “background” elements in the narratives shaped by male-dominated perspectives.
By portraying the tree as marginal and incomplete, Atwood underscores how women’s
contributions and identities are often minimized, seen as secondary to the main “frame” of
society’s photograph.

Memory, Reflection, and Self-Discovery: The poem’s tone of retrospective observation,

coupled with the speaker’s assertion that her body is difficult to see, taps into themes of
memory and self-reflection. The idea of “seeing” oneself in the photograph points to the
process of rediscovering a personal identity hidden under societal constructs. Atwood suggests
that women’s introspection, much like the act of examining an old photograph, involves
grappling with layers of societal expectations and memories that distort one’s true self.

Death, Erasure, and the Female Experience: The poem takes on an almost haunting quality
with the mention of the speaker’s drowning and submerged body, an image of death that
symbolizes erasure. This drowning can be read as an allegory for how women’s identities are
often “drowned” by societal roles, submerging their aspirations and voices. The implication of
a “posthumous” presence in the photograph conveys the notion that women are often only truly
“visible” or valued after they’ve relinquished some aspect of themselves. This notion reflects
Atwood’s criticism of a society that values women in their silence or absence, rather than their
presence and autonomy.

ANALYSIS OF POEM THROUGH POST MODERN AND ECOFEMINISTIC LENS

Margret Atwood’s "This is a Photograph of Me" embodies postmodern feminism by

challenging traditional representations of women and exploring themes of identity and
visibility. The poem presents a photograph that appears complete but conceals the speaker
beneath the surface, symbolizing how women’s identities are often fragmented or erased within
societal narratives. This poem aligns with postmodern feminism’s view that women’s
experiences defy fixed narratives and are influenced by diverse social and historical factors
that often go unnoticed. In subtly defying the limits of representation, Atwood’s poem
advocates for recognizing the nuanced, dynamic identities of women beyond surface-level
impressions.

EXPLANATION

Atwood uses the subject “I” to show the presence of the speaker in the photograph and offers
the picture of the speaker “drowned” in the “lake” persuading the reader to “look long enough”
to see her and her drowned body in the lake.

The “drowned body” is a female body which, as French feminists suggest, is tied to language.
Cixous in “The Laugh of the Medusa,” states that when a woman articulates, she uses her
body to “support the ‘logic’ of her speech.

The vivid feature that strikes one at first glance is the presence of the tension between the
opposites or “violent duality” as Sherrill Grace calls in her 1980 book where she studies the
role of oppositional forces in Atwood’s works. The crucial binary is you/I that plays a
prominent role in the poem. In this case the issue of identity and self as “I” is enormously
subjected to “you” in the poem where the female/male binary can also be seen. Here “you”
may be the male, the victor or civilization versus “I” who may be the female, the victim or
nature. This is not an easy task of division since the photograph hides identity and history. Ipso
facto, the caricature of reality shows the poetess’s concern with the identity of women exposed
to restrictions by male dominance. The poem plays with the conventional equation of
appearance and reality. The photograph obscures, rather than reveals, the speaker’s mysterious
identity and history

The blurred identity is visible from the beginning of the poem where the speaker describes the
photograph as “smeared” with “blurred lines” and “grey flecks.”, the setting in the photograph
is the wilderness and the descriptive adjectives actually refer to nature, set in parallel with the
female distorted by the patriarchal civilization. This is what Karen J. Warren (1996) defines as
ecofeminism. In her simple definition ecofeminism addresses “the relationship between the
inferiority of nature to culture and the inferiority of women to men”. Hence, the speaker
likens the situation of the photograph to her own situation, to her own self. Atwood was always
concerned with the status of women as material commodities for commercialization and being
intellectually disregarded. That is why the photograph hides the poetess’s identity: the real self
may be in the photograph and the unreal in reality.

The final stanza of the poem emphasizes the speaker’s desire to be seen, illustrating the
marginality of women within a male-centric world. The use of parentheses symbolizes
interruptions and fragmentation in her identity, suggesting that recognition requires a deliberate
effort from those in power. Atwood’s innovative use of language allows her to rewrite the
meanings associated with symbols like “water” and “light,” positioning them within a
framework that critiques male dominance and highlights the challenges women face in
asserting their identities. Ultimately, Atwood's poem serves as a poignant commentary on the
complexities of female identity, advocating for a deeper understanding of women's experiences
in the context of postmodern feminism.
 I STAND HERE IRONING BY TILLIE OLSEN

INTRODUCTION OF AUTHOR

Tillie Lerner Olsen (1912-2007) was an American author, essayist, college teacher, social
activist, and a formative voice of second-wave feminism. She was born in Wahoo, Nebraska,
the second of six children of Samuel and Ida Lerner, Russian Jewish immigrants who left their
homeland after their involvement in the failed 1905 revolution. She grew up in Omaha. She
showed talent and wit from a young age and became popular for the humor column she wrote
in the high school newspaper until she dropped out in the 11th grade. In 1930, she joined the
Young Communist League (YCL) and married Abraham Jevons Goldfarb, a leftist writer and
activist, 17 years her senior. During the Depression era, she organized and participated in
strikes, worked in a tie factory and in other low-paying jobs. She was jailed for organizing
packinghouse workers in Omaha and Kansas City. While recovering from pleurisy and
tuberculosis contracted as a result of factory conditions and weeks in jail, she began to write
her novel, Yonnondio: From the Thirties, which was published only forty years later. In 1933,
after the birth of her first daughter, Tillie and her husband moved to San Francisco. In the San
Francisco General Strike of 1934, Tillie was once again imprisoned, along with Jack Olsen –
a party comrade and labor organizer – who would become her life-long partner and with whom
she will have three daughters. In 1934, her short story, “The Iron Throat,” two poems, and
accounts of her role in that historic strike were published in the New Republic and The Partisan
Review, and brought Tillie’s writing to the center of attention. For many years, Tillie divided
her time between child raising, breadwinning, and engaging in social activism, which left little
time for writing. A Stanford University Creative Writing Fellowship (1955-1956) enabled
Olsen to return to writing. In 1961, she published Tell Me a Riddle – a collection of four short
stories, which included “I Stand Here Ironing” – written in startlingly poetic prose that
established domestic experiences as compelling subjects for fiction. In 1970, she published the
story “Requa I,” and her celebrated novel Yonnondio: From the Thirties was published in 1974.
In 1978, Olsen published Silences, a collection of essays which inspired women’s studies
programs, and made her a sought-after lecturer and near celebrity. She was showered with
grants and awards, including NEH and Guggenheim grants, Ford grant, O. Henry Award,
and the American Academy Award. Over the years, she gathered disciples who called her
“Saint Tillie,” our “national treasure,” and “Tillie Apple Seed,” for planting the seeds of
women’s studies. The founder of Feminist Press called her the “Mother of Us All.” She was
honored by San Francisco with a citywide Tillie Olsen Day in 1981. A similar day was
declared in the City of Santa Cruz in 1998. Tillie Olsen died in 2007.

About the short story

• Full Title: I Stand Here Ironing

• When Written: 1950s

• Where Written: San Francisco, California

• When Published: 1961

• Literary Period: Postmodern period

• Genre: Short story, Realism, Feminism

"I Stand Here Ironing" is a short story by Tillie Olsen that first appeared in Pacific Spectator
and Stanford Short Stories in 1956 under the title "Help Her to Believe." The story was
republished in 1957 as "I Stand Here Ironing" in Best American Short Stories. The work was
first collected in Tell Me a Riddle published by J. B. Lippincott & Co. in 1961. It is most
reprinted writing of Tillie Olsen.

PLOT OF THE STORY

The story unfolds through a first-person, confessional narrative, styled as an "interior

monologue" or "imagined dialogue." Drawing on elements from Tillie Olsen’s own
experiences from young adulthood to middle age, it reflects a deeply personal tone.

The narrator, a working-class woman in her early forties with four daughters, recounts her past,
beginning when she gave birth to her first child at nineteen. Soon after, her husband left them,
and they faced the harsh realities of the Great Depression in the 1930s.

The narrative centers on memories of raising her eldest daughter, Emily, under these
challenging conditions. Struggling to make ends meet, the mother had to leave Emily
frequently in pursuit of work, causing the child to spend extended periods with her paternal
relatives and later in a country convalescent home for children of impoverished parents. These
separations were painful for both mother and daughter. Now, as she reflects on Emily’s difficult
childhood, the mother earnestly hopes her daughter will rise above these hardships and find
happiness as an adult.

Setting

The setting of I Stand Here Ironing is primarily confined to the narrator’s home, where she
stands by the ironing board, a metaphorical and literal symbol of domestic labor and emotional
reflection. The limited physical setting reflects the narrow constraints of her life, both
financially and emotionally. However, through the narrator’s memories, Olsen subtly
transports readers back to the Great Depression and World War II, eras that deeply affected
working-class families. The larger social and economic backdrop plays a significant role, as it
shapes the mother’s struggles and Emily’s challenging upbringing, embedding the story in the
harsh realities of poverty and single motherhood.

Point of View

The story is told from a first-person point of view, allowing readers direct access to the
mother’s inner thoughts and emotions. This introspective perspective adds a confessional
quality to the narrative, inviting empathy and understanding for her conflicted feelings. This
point of view also emphasizes the subjective nature of memory, as the mother wrestles with
self-blame, regret, and the desire to find meaning in her choices. Through this lens, readers
gain an intimate insight into her guilt, her hope for Emily’s future, and her reflections on the
role of motherhood under difficult circumstances.

Historical context

Tillie Olsen's story, I Stand Here Ironing, published in 1961, is set in the post-World War II
era during a period of economic depression. This was a time marked by the increasing visibility
of issues like illegitimacy, single motherhood, and the hardships faced by their children.
Society heavily promoted ideals of full-time motherhood, "good" parenting, and marriage,
putting intense pressure on women, particularly single mothers. For these women, achieving
independence from household patriarchy could mean challenging male dominance, a notion
made even harder by public expectations around mothering. Without adequate social support,
the growing demands for women to adhere to traditional roles made it appear nearly impossible
to succeed alone. Consequently, many women came to view marriage and full-time
motherhood as both natural and beneficial for themselves and their children

THEMES

Apathy
Both the daughter and the mother seem to exhibit apathy by the story's conclusion: the
daughter towards her future, and the mother towards her perceived shortcomings. The daughter
chooses to sleep in late despite having exams the next day because "in a couple of years when
we'll all be atom-dead they won't matter a bit." The mother, weary from "dredging the past,"
decides to "[l]et her be." However, the story also hints at a desire to overcome this sense of
apathy. The image of the mother's iron, which frames the narrative, serves as a compelling
symbol of this desire. In the opening sentence, the iron, along with the narrator's thoughts,
"moves tormented back and forth." In the closing sentence, she expresses hope that her
daughter will realize "that she is more than this dress on the ironing board, helpless before the
iron.

Maternal Guilt and Societal Expectations:

In I Stand Here Ironing, the narrator’s reflections on motherhood are deeply
intertwined with guilt and self-doubt, stemming from her perceived inadequacies in raising her
daughter, Emily. Her guilt is magnified by the societal pressures placed on mothers to provide
ideal care despite economic hardship, isolation, and limited resources. The narrator recalls
instances where she feels she failed Emily, such as leaving her in daycare so she could work,
unable to give her daughter the time and attention society demands. Olsen uses these memories
to underscore the unrealistic expectations placed on mothers, who are often judged by others
and by themselves for choices made under constrained circumstances. This portrayal
emphasizes that the narrator’s guilt is less a reflection of her shortcomings and more a product
of societal pressures and the lack of support for working mothers. Through the narrator’s
internal conflict, Olsen highlights a common but under-discussed experience of women: the
way guilt can become internalized as a self-critique, despite structural forces that often dictate
these limitations. This nuanced exploration sheds light on the complex emotions tied to
motherhood, especially in settings marked by financial instability and social judgment.
The Search for Identity
The narrative quickly addresses the issue of individual identities between the mother
and daughter. The narrator is uneasy about being asked to help someone understand her
daughter: ''You think because I am her mother I have a key, or that in some way you could
use me as a key? She has lived for nineteen years. There is all that life that has happened
outside of me, beyond me." Despite questioning the value of her insights into her daughter,
she asserts a unique understanding of her daughter that surpasses that of any potential inquirer:
''You did not know her all those years she was considered homely."

The story portrays both mother and daughter as evolving, still in the process of "becoming."
The adolescent daughter is striving for independence, while her guilt-ridden mother is still
evaluating her own role. The shy daughter shows unexpected talent as an actress, prompting
her mother to wonder, "Was this Emily?" The daughter seems to become "Somebody" by
pretending to be someone else on stage. However, even in the apparent liberation Emily finds
through acting, she remains "imprisoned" by the public nature of the craft and the audience's
applause that "wouldn't let [her] go." Her mother feels uncertain about how to nurture this
talent, leaving readers to question whether Emily's gift will remain unexpressed—"clogged and
clotted" within her.

CHARACTERS

Emily
Nineteen-year-old Emily is the narrator's eldest child. Her mother feels a deep sense of regret
about Emily's upbringing, lamenting, "She was a child seldom smiled at." Emily's father
abandoned the family less than a year after her birth, during the harshest period of the
Depression. Struggling to make ends meet, her mother had to leave young Emily with various
temporary caregivers. As a child, Emily was often seen as plain—"thin and dark and foreign-
looking at a time when every little girl was supposed to look or thought she should look a
chubby blonde replica of Shirley Temple"—which caused her to become shy and passive. After
her mother remarried, Emily was overshadowed by her younger, more confident half-sister
Susan. Surprisingly, Emily has developed a knack for comedic acting—a "deadly clowning"—
that has gained her some recognition, but she appears to lack drive. At the story's conclusion,
Emily opts to sleep through her exams and remarks that "in a couple of years when we'll all be
atom-dead they won't matter a bit." Despite her mother's belief that "all that is in her will not
bloom," she holds out hope that Emily will realize "that she is more than this dress on the
ironing board, helpless before the iron."
Narrator
The narrator of "I Stand Here Ironing" is not described physically nor mentioned by name. Her
identity unfolds through her reflections on her relationship with her eldest daughter, Emily.
The narrator has faced significant hardships in her life. She was abandoned by her first husband
at the age of nineteen, less than a year after Emily's birth, during the worst of the Depression.
Financial struggles meant she had to work long hours, leaving her unable to give Emily the
attention she needed. She remarried and had more children, to whom she feels she has been a
better mother. She regrets many aspects of how she raised Emily and believes that because of
her maternal shortcomings, "all that is in [Emily] will not bloom." Readers have different
interpretations of the narrator's final resolution about her daughter—to "let her be." Some
perceive this as passive resignation, while others view it more positively, as an
acknowledgment of her daughter's independence and ability to "find her own way."
Susan
Susan is Emily's younger half-sister. According to their mother, Susan excels in school, is more
attractive, and enjoys greater popularity: Emily's "younger sister seemed all that she was not."
Emily feels competitive with Susan and resents the extra attention their mother gives to her.
The mother believes that because Susan grew up in a more nurturing environment, it was
inevitable that Susan would outshine her older half-sister.
SYMBOLISM

1. The Iron: The iron in the story symbolizes the narrator's repetitive, restrictive life and
the monotonous responsibilities of motherhood. The act of ironing parallels the
mother’s efforts to "smooth out" Emily's struggles and challenges, even as she realizes
she can't fully control or protect Emily from life’s hardships. The repetitive back-and-
forth motion reflects the mother’s feelings of being trapped by societal and economic
circumstances, as she attempts to navigate her guilt and inadequacies.
2. The Convalescent Home: The convalescent home where Emily recovers from
tuberculosis represents the narrator’s inability to effectively care for her children.
A social welfare agency has stepped in to provide Emily with the care and attention she
does not receive at home—Emily can recover only if she is looked after by strangers in
an unfamiliar place. The facility is supported by society women who have placed the
 children’s convalescence center on their list of causes, and they help support the facility
through fundraisers. These women couldn’t be more different from the narrator, who
has struggled for her entire life to make ends meet. The wide green lawns and “fluted
flower beds” contrast starkly with the narrator’s drab world of ironing in her cramped
walkup apartment.
3. School Performances: Emily’s school performances symbolize her internal struggle
for acknowledgment, individuality, and self-expression. While Emily shines
momentarily on stage, this talent is largely unrecognized and unsupported in her daily
life. These performances reflect Emily’s potential and the contrast between her inner
vibrancy and the lack of opportunities afforded to her by her socioeconomic
environment. This symbol underscores the theme of unmet potential due to external
limitations, emphasizing how economic hardships stifle Emily's self-expression and
personal growth.
4. The Mirror: The mirror Emily looks into can symbolize her quest for identity and
self-worth amid a challenging childhood. When Emily examines her reflection, she
confronts both her sense of inadequacy and her desire to understand herself outside her
mother’s influence. The mirror becomes a tool for self-reflection and hints at Emily’s
struggle to form a strong self-concept in the face of the limited attention she received,
symbolizing her ongoing battle to define herself within the constraints of her
upbringing.
5. Emily’s Balcony
Emily’s balcony in particular represents the emotional distance between the
narrator and her daughter. While Emily is at the recovery center, she is cut off from
almost all communication. Even the letters the narrator writes to her are read to her
once and then thrown away. Parents are allowed to visit only every other Sunday, when
the children line up on the balconies of their cottages and conduct shouted conversations
with the parents who stand below. The narrator seems unable to establish direct contact
with Emily, either in the recovery center or their home life. The narrator refers to the
“invisible wall” that divides them, both then and now. A sign instructing visitors not to
“contaminate” their children through “physical contact” suggests that the narrator
herself is a source of contamination, allowing her daughter to sicken while she devoted
her attention to other responsibilities. The mother’s emotional neglect of Emily has
permanently “contaminated” her as well, infusing her with a bleakness that the narrator
fears will never disappear.
Significance of the title
The title "I Stand Here Ironing" serves as a powerful metaphor for the narrator's
internal struggle and the societal expectations placed upon mothers. Ironing, a mundane
household chore, symbolizes the pressures of domesticity and the relentless need to smooth
out the wrinkles in both fabric and life. As the narrator physically stands at the ironing board,
she is metaphorically confronted with her past decisions and perceived failures in raising her
daughter, Emily. This act of ironing reflects her desire to tidy up the chaos of their lives and
make sense of her experiences as a mother, while also highlighting the emotional weight she
carries. The title encapsulates the central themes of guilt, sacrifice, and the complexities of
motherhood, suggesting that the act of standing and ironing is not just a task but a moment of
introspection where the narrator grapples with her feelings of inadequacy and longing for
connection with her daughter.

USE OF STREAM OF CONSCIOUSNESS

In I Stand Here Ironing, Tillie Olsen employs the stream of consciousness narrative technique
to immerse readers in the protagonist's inner thoughts and emotions. This approach allows for
an intimate exploration of the mother's complex feelings regarding her daughter and their
strained relationship. The fragmented and nonlinear flow of her thoughts mirrors the chaos
of her life, emphasizing her regrets and the burdens imposed by societal expectations. This
narrative style not only captures the authenticity of the mother’s voice but also reflects the
disjointed nature of memory, revealing the emotional weight of her experiences as a single
parent struggling with poverty and inadequacy.

The impact of this technique is profound, fostering a deep emotional resonance and inviting
readers to empathize with the characters' struggles. As the mother reflects on her past, her
internal monologue highlights the complexities of love, loss, and resilience in the face of
adversity. By presenting the mother's thoughts in such a raw and unfiltered manner, Olsen
underscores the challenges faced by marginalized individuals and emphasizes the importance
of personal narratives in understanding broader societal issues. Ultimately, the stream of
consciousness not only reveals the mother’s growth and acceptance of her daughter’s
independence but also serves as a poignant commentary on the human experience, illuminating
the intricate interplay between personal and societal factors.
Confronting Guilt: The Narrator's Journey in I Stand Here Ironing

The narrator's experience of guilt in I Stand Here Ironing is central to understanding her
character and the complexities of motherhood. Her guilt stems from various sources: societal
expectations, personal limitations, and the perceived failures in her relationship with her
daughter, Emily. This internal struggle highlights her desire to be a nurturing and supportive
mother while grappling with the realities of her circumstances, such as poverty and isolation.
As she reflects on her past decisions and their impacts on Emily, her defensive posture reveals
a deep need for self-justification and a search for forgiveness—both from herself and her
daughter.

In this context, the narrator's constant defense of her actions serves as a coping mechanism
for her guilt. She attempts to reconcile her feelings of inadequacy with her aspirations for
Emily's future, often shifting between self-blame and a recognition of the external factors that
have influenced their lives. This duality illustrates the intricate balance of love and
responsibility inherent in parenthood. While her guilt is palpable, it ultimately underscores her
humanity and the universal challenges faced by parents in striving to foster their children's
independence while acknowledging their own limitations. The narrator's journey toward self-
acceptance is as much about confronting her past as it is about embracing her daughter's
autonomy, reflecting the complex dynamics of motherhood that resonate with many readers.

CRITICAL RESPONSES

• Richard M. Elman describes I Stand Here Ironing as “a catalogue of the failure of

intimacy” and considers it the most excellent of Olsen's stories.
• A 1963 essay by William Van O'Connor in Studies in Short Fiction finds despair in
the narrative, highlighting a daughter who believes nothing matters due to impending
atomic destruction and a mother who struggles to convince her daughter that there is
“still enough to live by.”
• Subsequent critics, informed by feminist perspectives, have identified more optimistic
elements in the story.
o Elizabeth Fisher, editor of Aphra, The Feminist Literary Magazine, suggests
in a 1972 essay in The Nation that I Stand Here Ironing is “also a hopeful story
of how children survive, sometimes even making strength, or talent, out of the
deprivations they've endured.”
 o Joanne S. Frye, in a 1981 essay in Studies in Short Fiction, argues that Emily
does not succumb to despair despite her remark about everyone being “atom-
dead” soon. Instead, she asserts her own right to choose by claiming her wish
to sleep late in the morning. Frye further contends that the mother, while
despairing over her inability to “total it all,” manages to “reenter her thoughts”
and ultimately triumphs as a parent by acknowledging her daughter's
independence. Frye interprets the mother's final resolution— “Let her be”—as
an indication that the mother “trusts the power of each to 'find her way' even in
the face of powerful external constraints on individual control.”
• Critics Mickey Pearlman and Abby Werlock, in Tillie Olsen, state that the story
presents “the inexorable riddle of human existence,” capturing not only the endurance
of poverty, bigotry, illness, and pain but also the ultimate ability to transcend these
challenges.
• Alice Walker has praised Olsen for rescuing the lives of forgotten and invisible people,
with other critics agreeing that Olsen's work preserves the histories of those
traditionally under-represented in literature.
• Olsen's career reflects her conviction that “literature can be made out of the lives of
despised people,” and Walker acknowledges her pioneering efforts in portraying the
lives of the poor, the working class, females, and non-whites long before these subjects
gained widespread attention.

I STAND HERE IRONING THROUGH CRITICAL LENS

Analyzing I Stand Here Ironing through various critical lenses reveals the layered complexities
of the story, uncovering how Tillie Olsen crafts a powerful narrative that resonates on multiple
thematic levels. Here’s how different critical perspectives offer unique insights:

1. Feminist Perspective Lens

Through a feminist lens, I Stand Here Ironing reflects the struggles of women caught between
their own identity and the demands of motherhood, especially within a patriarchal society that
limits their agency. The narrator, a single mother, grapples with guilt and societal expectations
that judge her worthiness as a mother. Feminist scholars have pointed out how Olsen highlights
these struggles, especially in a time when women's voices and their economic independence
were restricted. The story critiques societal expectations that deem mothers responsible for
their children's outcomes, often without acknowledging the economic or social hardships
influencing their ability to parent.

2. Psychological Perspective

From a psychological perspective, the story delves into the inner turmoil of the narrator, whose
introspective reflections reveal her guilt, anxiety, and attempts to reconcile with her past
decisions. The narrator’s stream-of-consciousness narration exposes her unresolved guilt and
self-doubt, shaped by the perceived inadequacies of her own mothering. Her contemplation of
Emily’s childhood reflects not just regret but also a kind of psychological catharsis as she
confronts the limitations imposed by her own circumstances, suggesting that her reflections are
also an effort to heal and accept.

3. Socioeconomic Perspective

Examining the story through a socioeconomic lens reveals the impact of poverty on family
dynamics and parental choices. Olsen illustrates how poverty and the demands of survival
restrict the narrator’s ability to be the ideal mother, impacting Emily's upbringing. This lens
highlights the narrator's sense of powerlessness, as financial pressures force her to prioritize
basic survival over nurturing, making it impossible to meet societal standards of motherhood.
Olsen critiques the systemic inequities that hold working-class women like the narrator in
perpetual struggle, suggesting that socio-economic forces shape individuals’ fates as much as
personal decisions do.

4. Marxist Perspective

A Marxist reading emphasizes how class struggle permeates the story, with the mother’s
poverty reflecting broader capitalist inequities. The narrator’s struggles are framed by the lack
of resources and opportunities, forcing her to choose between survival and parenting. This lack
of agency is underscored by her isolation and the limited support system available, resulting in
her self-recrimination and Emily’s resilience as outcomes of systemic class inequality. Olsen’s
portrayal can be read as a critique of how the capitalist structure disproportionately burdens
working-class mothers, making them scapegoats for problems originating in socio-economic
inequities.

QUOTES EXPLAINED
 • I stand here ironing, and what you asked me moves tormented back
and forth with the iron.

Explanation

In this opening line from I Stand Here Ironing, Tillie Olsen immediately introduces the reader
to a sense of tension and contemplation that pervades the story. The image of the narrator
standing over the ironing board, with her thoughts moving "back and forth with the iron,"
reflects both the physical and emotional labor involved in her role as a mother. This "back
and forth" motion serves as a metaphor for her internal struggle as she revisits past choices and
experiences, feeling torn between regret and justification. Just as the iron moves repeatedly
over the fabric to remove wrinkles, the narrator's thoughts go over her memories, seeking
clarity and understanding in her own mind, but often encountering friction and unresolved
emotions.

The line also encapsulates the theme of cyclical, unending work, symbolizing the
monotonous and often unacknowledged labor mothers perform. Her actions and thoughts
are intertwined in a single, repetitive motion, symbolizing how she has come to see her own
life as a series of burdensome yet inescapable responsibilities. This initial statement
foreshadows the sense of entrapment and sacrifice that emerges in her story, highlighting the
societal pressures on women and mothers, particularly those who lack the means or
opportunities to change their circumstances.

• She is a child of her age, of depression, of war, of fear.

Explanation

This line in I Stand Here Ironing highlights the complex external factors that have shaped
Emily's life and identity, portraying her as a "child of her age," deeply affected by the Great
Depression, the wartime atmosphere, and pervasive societal anxieties. Rather than placing
blame solely on individual choices, the narrator acknowledges the historical forces that have
impacted Emily’s upbringing, underscoring that her struggles are not purely personal but also
contextual. These challenges—poverty, instability, and fear—collectively symbolize the
systemic hardships that marked the era, especially for women and families in marginalized or
economically constrained situations.

By situating Emily as a product of these forces, Olsen draws attention to how external events
shape personal development and identity, adding depth to the mother’s guilt and sorrow. The
line ultimately implies that Emily’s limitations and vulnerabilities are intertwined with broader
social realities, challenging the reader to consider the intersection of individual responsibility
and societal influence in shaping lives.

• I think of our others in their three-, four-year-oldness—the explosions,

the tempers, the denunciations, the demands—and I feel suddenly ill.
I put the iron down. What in me demanded that goodness in her? And
what was the cost, the cost to her of such goodness?

Explanation

This quote from I Stand Here Ironing encapsulates the narrator's deep reflection on motherhood
and the expectations she places on her daughter, Emily.

The phrase "I think of our others in their three-, four-year-oldness" suggests a nostalgic yet
painful memory of the chaotic early years of parenting, characterized by "explosions,"
"tempers," "denunciations," and "demands." This recollection evokes a sense of overwhelm
and regret as the narrator grapples with the tumultuous nature of early childhood, which can
be both exhausting and disheartening.

The narrator's physical response—feeling "suddenly ill" and putting the iron down—indicates
a moment of profound realization or shame about her past actions and expectations. The
iron, a symbol of domesticity and the burdens of motherhood, is momentarily set aside,
suggesting her need to pause and reflect on the implications of her parenting.

The critical questions that follow—“What in me demanded that goodness in her? And what
was the cost, the cost to her of such goodness?”—highlight her introspection regarding the
societal pressures that compel mothers to strive for perfection in their children. The term
"goodness" implies a moral standard that the mother feels is necessary for Emily's success,
raising the issue of whether these demands are realistic or fair. The repetition of "the cost"
emphasizes the potential negative consequences of these expectations, prompting the reader
to consider how the pressures of motherhood can impact a child's emotional and psychological
well-being.

• “It wasn’t just a little while. I didn’t cry. Three times I called you, just
three times, and then I ran downstairs to open the door so you could
come faster. The clock talked loud. I threw it away, it scared me what
it talked.”

Explanation

The phrase "It wasn’t just a little while" suggests a distorted perception of time, highlighting
the emotional intensity and longing experienced by a child who feels neglected. Emily's
insistence on the duration conveys the weight of her waiting, emphasizing her deep desire for
her mother's presence and reassurance. This extended wait is not merely a momentary lapse; it
represents a significant emotional experience that has lasting repercussions on her sense of
security.

The statement "I didn’t cry" contrasts with the implied emotional turmoil of the situation.
Emily’s stoicism may indicate a learned response to her environment, suggesting a coping
mechanism developed in response to her mother’s absence. This reinforces the theme of
emotional repression and the toll it takes on children who are forced to navigate their feelings
of abandonment without parental support.

The act of calling her mother "three times" and then running downstairs to "open the door"
illustrates Emily's desperation and hope. The repeated attempts to connect with her mother
underscore her need for acknowledgment and love, highlighting the vulnerability of children
who yearn for parental attention.

The mention of "the clock talked loud" serves as a powerful metaphor for the passage of time
and the anxiety it induces. The clock, traditionally a symbol of order and structure, becomes a
source of fear for Emily, suggesting that the waiting and uncertainty have transformed her
perception of time into something threatening. By "throwing it away," she is rejecting the
reminder of her mother's absence and the fear that accompanies it, symbolizing a desire to
escape the painful reality of her situation.

Overall, this quote illustrates the themes of neglect, the longing for maternal connection, and
the psychological impact of childhood experiences on emotional development. It poignantly
reflects how the mother’s struggles and the chaotic environment directly affect Emily's sense
of self and emotional well-being.

CONCLUSION

In conclusion, "I Stand Here Ironing" by Tillie Olsen poignantly captures the
complexities of motherhood, guilt, and societal expectations through the lens of a mother
reflecting on her relationship with her daughter, Emily. The use of stream of consciousness
allows readers to intimately experience the narrator's internal turmoil, revealing her struggles
to reconcile her love for Emily with the harsh realities of their lives. The story's rich symbolism,
particularly through the act of ironing, serves as a powerful metaphor for the narrator's desire
to smooth over the difficulties they face and her attempts to make sense of her past choices.
Ultimately, Olsen’s narrative not only highlights the challenges of motherhood but also
emphasizes the resilience of women who navigate these challenges in a society that often
overlooks their sacrifices. The story resonates with feminist themes, shedding light on the
often-unrecognized emotional labor that mothers undertake and the profound impact of societal
pressures on their identities. Through this exploration, Olsen offers a voice to the complexities
of women's experiences, inviting readers to reflect on the enduring themes of love, loss, and
the quest for understanding within familial bonds.