Women up north. The Climax of "I Want You Women Up North to Know" 2022-11-06
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Women have played a vital role in the history and development of the Northern regions of the world. From indigenous women who have lived in these regions for thousands of years, to pioneers who braved harsh conditions to settle in these areas, women have always been an integral part of life up north.
Indigenous women in the North have traditionally played important roles in their communities as healers, caregivers, and leaders. In many indigenous cultures, women hold positions of power and are respected for their wisdom and knowledge. They are often responsible for passing down cultural traditions and teachings to future generations, and play a key role in preserving their communities' histories and ways of life.
In more recent history, European and North American women have also made significant contributions to the development of the North. Many of these women were pioneers who braved harsh conditions and faced numerous challenges as they settled in these regions. They often worked alongside their husbands and families to build homes, clear land, and establish communities. These women were strong and resilient, and their hard work and determination helped to shape the North into the vibrant and diverse region it is today.
Despite the many challenges and obstacles faced by women in the North, they have always found ways to thrive and make important contributions to their communities. Today, women in the North continue to be leaders and trailblazers, working to improve the lives of those around them and to preserve the rich cultural traditions of their communities.
In conclusion, women have always played a vital role in the history and development of the Northern regions of the world. From indigenous women who have lived in these regions for thousands of years, to pioneers who braved harsh conditions to settle in these areas, women have always been an integral part of life up north. Their strength, resilience, and determination continue to inspire and shape the future of the North.
What the poem suggests in our discussion is a redefinition of true morality, hence, of true spirituality, which begins in connection with people's actual circumstances. The continuing existence of such sweat shops around the world nearly seventy years later gives the poem continuing and long-term historical relevance. The speaker speaks for them in controlled protest with a language that is both caustic and mimetic "This is the exquisite dance of her hands over the cloth and her cough, gay, quick, staccato like skeleton's bones clattering, in appropriate accompaniment fot the esthetic dance of her fingers and the tremolo, tremolo when the hands tremble with pain. Keeping true to Ibarro's wish to have women up north understand the economic and social relations that are hidden within the clothing they buy, Olsen adds a passage describing a department store where the children's dresses are sold. This shift in mood is accomplished by three devices: imagery, grouping, and capitalization of proper names. What is interesting in this poem is that although the speaker attacks the entire system of production and consumption, she restricts her comments strictly to female consumers.
Ibarro reports Ambrosa Espinoza's struggle to "pay rent for her shack, pay insurance, support the Catholic Church and feed herself. . Another way this passage turns the mood of the poem is by using grouping and form to link the workers together, both in inference and appearance. . New Masses published the letter under the heading "Where the Sun Spends the Winter," a version of the slogan adopted by a Texas Chamber of Commerce as the motto for a tourist campaign.
She would reject an obfuscating metaphoricity that substitutes fantasies of birds on the wing for hand movements that are actually painful. Though the appropriateness of Olsen's figurative language for her proletariat purpose has been debated, Nelson finds the poem "politically successful. Paradoxically, the voice seems to gain strength as the poem progresses even though the story of overwork told by the voice reveals greater and greater horrors. An amalgam rather than a blend of poetry and reportage, "I Want You Women Up North to Know," is nevertheless at points sensitive to the richness and rhythm of language. In addition, these lines represent the development of the narrator of the poem, the unnamed "I.
In this way, Nelson argues, the women in the poem become representative of a suffering class or body which could speak to readers and workers on a global or international level. In February, 900 National Guardsmen failed to break a massive picket of 10,000 workers from the community surrounding the Toledo Auto-Lite plant. Olsen works with Ibarro's letter to draw out its drama and intensify the metaphoric power of the suffering it recounts. The poem is a vehicle for the stories of exploited Chicanas, as Tell Me a Riddle will be permeable to multiple oppressed voices. To the women up North she introduces four women who, each in their individuality, dies silently as a result of an exploitive capitalism. Coiner's conclusion lays out her doubts: While the text succeeds in its intention to force us to confront the agony and injustice of these garment workers' lives, it is also unsettling because it preempts our emotional and moral responses. The concise specificity of its account of exploited labor is persuasive and moving.
And in July, Minneapolis Trotskyists led the teamster strike that inspired Le Sueur's "I Was Marching," closing down the trucking industry and tying up the entire city. The experience of working people thereby becomes a fitting ground for all the ideological investments the culture makes in literariness, particularly in poetry. I swear it won't. In both the poem and the letter, each woman's wages, work, and challenging living situation is described. The expectation that she cannot reach those consumers is built into the poem's adoption of a revolutionary solution.
The free verse form and the repetition of words and phrases may represent a debt to Whitman, while a bold central metaphor transforms the women into the clothing they embroider—that is, into commodities" 163. This poem grew out of a letter to New Masses 9 January 1934 from a Texas woman, Felipe Ibarro, indicting the owners of the Juvenile Manufacturing Corporation who exploited workers--in this case, Chicanas--in the San Antonio garment industry. We are also funded through grants, cash and in-kind donations from many other generous individuals and organisations. Our support workers collaborate with other local services, Housing NSW and the Link2home homelessness hot-line, and referral service, to tailor support to client needs. The imagery in this passage helps turn the tone of the poem from victimization to anger. A final significant device in this passage is the use of capitalization. The poem urges this sort of solidarity on sympathetic readers, including workers themselves, and does not seek a transformed upper middle class.
Because those who might have been persuaded are, in effect, excluded by this discourse, the poem's intention is undercut p. In all of this Olsen is effectively Ibarro's agent in the domain of literariness. The letter describes the impossible lives of four women who survive by hand embroidering children's dresses for a few pennies each. MAPS welcomes submissions of original essays and teaching materials related to MAPS poets and the Anthology of Modern American Poetry. Thus, Olsen's voice draws from the many women who experience such debilitating work, through the voice of Ibarro, finally becoming the authorial "I" that opens the poetic address: "I want you women up north to know.
Cary Nelson: On "I Want You Women Up North to Know"
The continuing existence of such sweat shops around the world nearly seventy years later gives the poem continuing and long-term historical relevance. As noted above, Olsen has said of the '30s: "We believed that we were going to change the world. On "I Want You Women Up North To Know" On "I Want You Women Up North To Know" Constance Coiner As Olsen began her writing career, workers started pouring into the available unions. Here the bodies weave a message of revolt against fascism. In addition to fire images, the overall language is completely stripped down to bare ugliness.
Instead of being humble and disjointed victims who remain mostly anonymous, the workers are transformed into an angry and unified group of distinct individuals. Women Up North WUN operates in the Northern Rivers area of New South Wales. In truth, there is nothing poetic, nothing musical, and nothing aesthetic about catalina's trembling hands. One of these differences is the added Unlike Ibarro's letter, Olsen also references the women workers a second time as she summarizes their struggle toward the end of the poem. The wrong of unshapely things is a wrong too great to be told; I hunger to build them anew and sit on a green knoll apart, With the earth and the sky and the water, remade, like a casket of gold For my dreams of your image that blossoms a rose in the deeps of my heart. They might be riddled by the bullets of knowledge.
