Better Red: The Writing and Resistance of Tillie Olsen and by Constance Coiner

By Constance Coiner

Greater pink is an interdisciplinary examine addressing the complex intersection of yank feminism and the political left as refracted in Tillie Olsen's and Meridel Le Sueur's lives and literary texts. the 1st book-length learn to discover those feminist writers' ties to the yankee Communist celebration, it contributes to a reenvisioning of Thirties U.S. Communism in addition to to efforts to advertise working-class writing as a sound type of literary research. without delay dependable contributors of the male-dominated Communist celebration and rising feminists, Olsen and Le Sueur express of their writing developments either towards and clear of get together tenets and attitudes--at issues subverting formalist in addition to orthodox Marxist literary different types. by way of generating working-class discourse, Olsen and Le Sueur problem the bourgeois assumptions--often masked as classless and universal--of a lot canonical literature; and via developing working-class women's writing, they problematize the patriarchal nature of the Left and the masculinist assumptions of a lot proletarian literature, watching for the worries of "second wave" feminists a new release later.

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Better Red: The Writing and Resistance of Tillie Olsen and Meridel Le Sueur

Larger pink is an interdisciplinary examine addressing the complex intersection of yank feminism and the political left as refracted in Tillie Olsen's and Meridel Le Sueur's lives and literary texts. the 1st book-length examine to discover those feminist writers' ties to the yank Communist celebration, it contributes to a reenvisioning of Thirties U.

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Additional resources for Better Red: The Writing and Resistance of Tillie Olsen and Meridel Le Sueur

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But, as Bloom indicates, Gold's programmatic pronouncements about proletarian realism contributed to a "reductive view of Gold as a bully and a vulgarian," an image "which Gold himself helped foster" (14). I agree with Bloom that a full appreciation of Gold's work requires examining his contradictory impulses, and I consider the work of Bloom, as that of Klein and Folsom, to be a necessary complement to my own. However, my concern in this book is with Gold's influential pronouncements on ("manly") proletarian literature versus ("effeminate") bourgeois art, their relation to other positions held at the time, and their relation to what I have referred to as Le Sueur and Olsen's "other stories," their discourse of resistance.

By the close of the '30s, as Peck points out, many "felt betrayed, most certainly by Russia, but also by their own social, political, and economic ideas and ideals. They renounced both, and in the act of renunciation they jettisoned the literature which those ideas and ideals had created" ("Orgy" 379). By the end of the decade, proletarian literature became the subject of a number of obituaries. In "Proletarian Literature: a Political Autopsy," Rahv reduced proletarian literature to "the literature of a party disguised as the literature of a class," to an "episode in the history of totalitarian communism" (623, 628).

Le Sueur and Olsen were among the nine women (out of a total of 70) who signed the "Call for an American Writers' Congress" drafted by Granville Hicks and published in New Masses in January 1935. u They were also among the few women delegates to the Congress held later that year. A drawing of Olsen was one of the rare portraits of women writers to appear among the many renderings of male literary figures in the issue of New Masses (1 May 1935) that reported on the Congress.

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