The concept of women community in American Literature

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Versión en español

Serie: 'Bites of Wisdom' (XVI)

1. Introduction: Gender & Literature in English

Gender is a commonly used concept in our society. The Cambridge English Dictionary defines gender as “the physical and/or social condition of being male or female” and as “all males, or all females, considered as one group.” Thus, we must understand gender not only as a matter of sexual identity but also in relation to social factors, including race, social groups, religion, and economic status. Traditionally, women’s roles in society were significantly restricted compared to men. It was believed that women should shoulder all household responsibilities, as they were seen as the primary caregivers. Although society has evolved, some disparities remain. For example, in the business world, women are often more likely to earn lower incomes, while men are more likely to receive higher salaries.

In the literary history of English-speaking countries—and in World Literature in general—female authors were often not accepted, and therefore, literary works by women were frequently unpublished or ignored. This was the case for Mary Shelley, whose most famous novel, Frankenstein, or The Modern Prometheus (1818), was initially published anonymously. Percy Bysshe Shelley wrote the preface, and the dedication was to Mary’s father, William Godwin. Later, in a revised 1823 edition, Mary Shelley was finally recognized as the author of Frankenstein. A more recent example is J.K. Rowling, the author of the Harry Potter series. The editors at Bloomsbury Publishing, responsible for the Harry Potter release, feared that young readers might be reluctant to buy a book written by a woman. As a result, they asked Rowling to use her initials (J.K.) rather than her full name, Joanne. Since she did not have a middle name, she chose “K” from her grandmother’s name, Kathleen (IMD, 2007). In conclusion, gender in literature reflects women’s history and struggles for rights and freedom. This is evident in literary texts written by women, where female protagonists often have a distinct voice.

2. Women communities

Young people forming a circle.

The idea of women’s community in literature beautifully captures the deep connections, shared experiences, and collective identities that women cultivate in response to societal pressures and traditional gender roles. This theme has woven its way through various literary movements and genres, offering a poignant reflection of women’s struggles, resilience, and empowerment throughout history. Women’s communities can take many forms, whether through familial bonds, friendships, or broader social networks. These spaces often provide refuge and resistance, allowing women to express their true selves, exchange knowledge, and challenge the expectations placed upon them by society. You will often find common motifs in these narratives, such as domestic settings, shared rituals, and collective actions that illuminate the intricate web of women’s lives. By celebrating these relationships and experiences, literature not only highlights the strength found in community but also underscores the importance of solidarity among women as they navigate the complexities of their worlds.

2.1. Susan Glaspell’s Trifles (1916)

Susan Glaspell was a pioneering American writer whose work broke new ground in addressing gender inequality, a deeply ingrained issue for women in the 19th century. In her play Trifles, Glaspell explores themes of gender roles and the often-overlooked perspectives of women, highlighting how their insights are marginalized in male-dominated spaces. The title Trifles itself is a subtle yet powerful nod to the dismissive attitude that the male characters in the story have towards women’s concerns, labeling them as inconsequential or insignificant “trifles.” This dismissal is more than just a passing attitude—it blinds the men to crucial evidence, as they focus on areas, they deem important (such as the bedroom) while disregarding spaces associated with women, like the kitchen.

In one key moment, Sheriff Henry Peters makes the remark, “nothing here but kitchen things,” signaling the widespread social tendency to trivialize women’s world and experiences. Ironically, it is in these “kitchen things” that the truth lies. The men’s failure to recognize the importance of domestic space prevents them from discovering a critical clue—a dead bird hidden in a sewing basket. This bird, a symbol of Minnie Wright’s suppressed freedom and spirit, captures the theme of lost autonomy many women experienced in that era. It becomes a unifying point of empathy and solidarity for the female characters, who recognize Minnie’s suffering in their own experiences. Understanding the emotional toll of her oppressive marriage to John Wright, they choose to support Minnie, silently defying the rules imposed by their male counterparts.

Literary scholar Maryanne Ferguson underscores the play’s significance by describing Trifles as “a uniquely female and, indeed, feminist document” (Ferguson, 1999, p. 400), drawing attention to the groundbreaking way it portrays women’s collective insight and resilience. In many ways, Trifles presents a quiet but subversive protest against a system that renders women invisible, giving voice to a community of women who, through empathy and shared understanding, challenge the male-dominated justice system in their own subtle yet profound way. Through this detective story, Glaspell unveils the power of a women’s community that stands in solidarity against social norms, embracing their shared humanity and challenging the structures that aim to silence them. In essence, Trifles is a powerful critique of gender inequality that not only highlights the limitations placed on women’s autonomy but also emphasizes the importance of communal understanding and support among women. By standing together in this understated act of rebellion, the women in Trifles become symbols of resistance against the oppressive forces that attempt to confine them to the domestic sphere.

Writer in the 80s.

2.2. Sandra Cisneros’s The House on Mango Street (1983)

Sandra Cisneros’s The House on Mango Street dives into the lives of women navigating a patriarchal society and highlights the resilience found in female community. Set in a Latino neighborhood in Chicago, the novel is narrated by Esperanza Cordero, a young girl who shares her experiences, dreams, and struggles growing up in a society that often sidelines women. Through Esperanza’s reflections and relationships, Cisneros brings attention to the shared hardships the women in her community face and the supportive networks they build to handle these challenges. In this way, the novel shows how solidarity among women becomes a powerful source of strength and a way to survive.

One of the central themes in The House on Mango Street is how women’s community emerges from shared struggles. Many female characters feel bound by traditional gender roles and limited options. For instance, characters like Esperanza’s friend Sally and her neighbor Rafaela find themselves in restrictive or even abusive relationships, stuck under societal and partner-imposed expectations. As Esperanza observes these women, she begins to understand how poverty, cultural norms, and gender expectations can limit their choices. Despite these constraints, these women share a sense of solidarity, connecting through their common experiences, even if they can’t fully change their situations. Esperanza’s journey illustrates the impact of women supporting one another. Throughout the novel, the women around Esperanza offer guidance in subtle but meaningful ways. For example, her neighbor Marin shares stories and advice, giving Esperanza insights she’ll need to navigate her own life. Although some of the older women seem resigned to their circumstances, they also serve as sources of wisdom and quiet encouragement, nudging Esperanza to envision a life beyond Mango Street. These women display remarkable resilience, inspiring Esperanza to dream of a future different from theirs.

The story also explores Esperanza’s inner conflict between wanting independence and staying connected to her community. As she grows, she realizes that achieving her dreams might mean leaving Mango Street. However, her bond with the women of her neighborhood remains strong. Esperanza dreams of having her own home but promises to return for “the ones [she] left behind,” showing her commitment to uplifting other women who may be trapped in the cycle she’s trying to escape. This desire to return emphasizes the idea that personal freedom is connected to a sense of responsibility and solidarity within the community. In The House on Mango Street, Cisneros portrays women’s community as an essential support system that helps these characters endure difficult lives and hold on to their dreams. Their shared experiences of hardship and their quiet acts of resistance create an unspoken bond among them. Esperanza’s promise to come back reflects this cyclical support within the community—those who find a way out feel drawn to help others do the same. Through Esperanza’s story, Cisneros suggests that true empowerment for women comes not only from personal freedom but also from the strength and support of a united community.

2.3. Zora Neale Hurston’s Their Eyes Were Watching God (1937)

The concept of a "women's community" embodies the idea of collective strength, resilience, and support among women, allowing them to share their experiences and foster empowerment. This theme is particularly significant in Zora Neale Hurston's seminal novel Their Eyes Were Watching God, where the protagonist, Janie Crawford, embarks on a profound journey of self-discovery shaped by her relationships with other women.

Janie's life reflects the struggles faced by many women in the early 20th century, particularly regarding their quest for autonomy within a patriarchal society. Throughout the novel, Janie's journey is influenced by key female figures such as her grandmother, Nanny, and her friend, Pheoby Watson. Nanny's traditional views about marriage and security impose limitations on Janie's independence, as she encourages Janie to marry Logan Killicks for financial stability rather than love. This early conflict sets the stage for Janie's quest for self-fulfillment and illustrates how women’s communities can perpetuate societal norms while also providing a framework for personal growth. As Janie navigates her relationships with men, her bond with Pheoby emerges as a cornerstone of her support system. Pheoby’s unwavering friendship allows Janie to share her story, reflecting the importance of female solidarity in overcoming personal and societal challenges. Pheoby embodies the modern woman who understands Janie's need for independence, emphasizing that women can find strength in each other's experiences and wisdom. Their conversations illustrate a shared understanding of love, loss, and the search for identity, reinforcing the significance of community among women.

Hurston's use of rich symbolism and lyrical language enhances the novel's exploration of womanhood. The pear tree, for instance, symbolizes Janie's ideal vision of love and fulfillment, while her journey through different marriages reflects her evolving understanding of her own desires. Each relationship serves as a lesson, revealing the complexities of love and the expectations placed upon women. As Janie learns to voice her needs and desires, she gradually embraces her individuality, signifying a shift toward self-empowerment that resonates with the ideals of a supportive women's community. Ultimately, Their Eyes Were Watching God presents a nuanced portrayal of women's relationships and the transformative power of female solidarity. Hurston's narrative invites readers to appreciate the depth of women's experiences, highlighting the importance of community in shaping identities and fostering resilience. In a world that often seeks to silence women, Hurston’s work stands as a testament to the strength found in shared experiences and the bonds forged among women.

Bibliography

Cisneros, S. (1983). The House on Mango Street. Vintage Books.

Ferguson, M. (1999). Susan Glaspell: Images of Women in Literature. Houghton Mifflin.

Glaspell, S. (2010). Trifles. In Plays by Susan Glaspell (Ed. C.W. Atkinson). Dover Publications. (Original work published 1916)

Hurston, Z. N. (1937). Their Eyes Were Watching God. J.B. Lippincott.

IMDb. (2007). J.K. Rowling Biography.

Unknown. (2007, February 16). The Not Especially Fascinating Life So Far of J.K. Rowling.

Editor: Universidad Isabel I

ISSN  3020-321X

Burgos, España