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3 pages in length. The shared theme in Tillie Olsen's I Stand Here Ironing and Shirley Ann Grau's Fever Flower draws upon the mother/daughter relationship and how –- in light of emotional, economic and social stumbles that preclude a psychologically healthy upbringing – forever shape the confused and disappointed views portrayed by the characters. Raising a child, as Olsen's protagonist clearly points out, is fraught with unseen challenges just waiting to trip up even the best intentions; when poverty and culturally-imposed mandates interfere with the unidentified mother's capacity to meet such overwhelming challenges with heartfelt love as her only resource, the only viable alternative is to sever the mother/daughter relationship. Grau, who by comparison illustrates how just the opposite situation can be equally ineffective in raising an emotionally stable child, makes it clear how wealth and status are not ingredients for a stable, nurturing home life, particularly when the mother is emotionally absent from her own daughter's developmental years. Bibliography lists 1 source.
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File: LM1_TLCgrau.rtf
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Unformatted sample text from the term paper:
of emotional, economic and social stumbles that preclude a psychologically healthy upbringing - forever shape the confused and disappointed views portrayed by the characters. Raising a child, as Olsens
protagonist clearly points out, is fraught with unseen challenges just waiting to trip up even the best intentions; when poverty and culturally-imposed mandates interfere with the unidentified mothers capacity to
meet such overwhelming challenges with heartfelt love as her only resource, the only viable alternative is to sever the mother/daughter relationship. Grau, who by comparison illustrates how just the
opposite situation can be equally ineffective in raising an emotionally stable child, makes it clear how wealth and status are not ingredients for a stable, nurturing home life, particularly when
the mother is emotionally absent from her own daughters developmental years. With the single comment stating how the self-absorbed mother is a "superb animal...not quite human [and] did not need
anyone" (Moffett, 1995, pp. 509-521), the author leaves little to question about the impact Maureen had upon Roses overall development; molding her into an aesthetic beauty did not do much
for Roses sense of self, inasmuch as she -- like her mother -- came to depend upon her outer character to define her entire identity. Similarly, Olsen sheds light
upon the way intent and effort do not always produce the desired outcome, which is made most obvious by the mothers efforts to meet her daughters emotional needs while at
the same time become financially able to support them both. "After a while I found a job hashing at night so I could be with her days, and it
was better. But it came to where I had to bring her to his family and leave her" (Moffett, 1995, pp. 21-31).
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