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• W93702425 abstract "This is pleasant morning but oh dear i feel like stewed cat have got cold my head aches and all that but what is the use i have got to go to ironing again today Lizzie A. Wilson [Goodenough], July 6, 1865 Lizzie A. Wilson Goodenough understood the uselessness complaining; her life as domestic worker spared little time for moment's rest and none for self-pity. Despite her constant chores, including washing, ironing, baking, sweeping, and sewing, she found time to write at least seven volumes of pocket diaries in which she narrates her own life story. (1) Born in 1844 in Brattleboro, Vermont, where she continued to live and work, Lizzie A. Wilson was orphaned in 1860 and left with only one surviving family member, her brother Edd. Without family support, Lizzie depended solely on her own income from domestic situations and sewing for survival; (2) her diaries chronicle her stringing together of numerous short-term jobs requiring constant movement between families, residences, and financial situations. This working-class woman, absorbed primarily by her material existence, did not focus on her burdens but instead created space for an independent and spirited personality to emerge in her diary. Reading throu gh years of entries about her various jobs, occasional social events, her eventual marriage, and the birth of her two children, Arthur (1871) and Lizzie Cora (1874), I found myself entirely engaged by lively and self-sufficient personality willing to work hard despite often feeling as drained as a stewed cat. Faced with life of perpetual labor, Lizzie manages to form labor into narrative of her own. Much of the critical material on women s diaries focuses on the middle class and traces the influences of the cult of domesticity in nineteenth-century women's written identities. Middle- and upper-class women became the securers of the sacred trust of moral, spiritual, and maternal matters; woman would value her role as mother above all else, providing spiritual guidance for her children as well as for the family. True women would be selfless Christian servants to their families and communities, supervising the moral and domestic sphere and leaving all public affairs to their husbands. (3) Women, then, would shun self-focus as shameful and would instead act maternally and point to the successes of others. The problem arises regarding these women and subjectivity; traditional, masculine autobiographers focus primarily on the development of an independent, self-reliant identity. (4) According to critics of women's autobiography, middle-class women's diaries exhibit various strategies to avoid thi s kind of self-focus; women created new form of because they have used diaries to tell their stories without reproducing the masculinized autobiographical subject. (5) Lizzie Goodenough's diaries do not reflect shift in focus which middle-class women's writings have illustrated. Although many critics reinforce Bella Brodzki and Celeste Schenck's assertion that this self-definition in relation to significant others, is the most pervasive characteristic of female autobiography (8), Lizzie's personal narrative instead establishes her own distinct voice, defined in connection with the agency she finds in work. (6) As such, she was unashamed to write about her activities in ways true women supposedly never would. First, Lizzie does not create subjectivity based on relationships to others; readers do not understand her primarily as daughter, sister, wife, or mother but instead as an independent, hardworking, and often lonely young woman. Second, unconcerned with the larger social connection between self-effacement and femininity, she takes credit for her successes, listing them specifically and often congratulating herself for her work. Third, motherhood and home do no t figure as focal points of Lizzie's writing; even when she marries, her diaries discuss her own activities much more frequently than her children's or husband's lives. …" @default.
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• W93702425 date "2002-01-01" @default.
• W93702425 modified "2023-09-23" @default.
• W93702425 title "I Owe No One a Penny: Labor and Female Subjectivity in the Working-Class Diaries of Lizzie Goodenough.(Critical Essay)" @default.
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