The Climax of I Want You Women Up North to Know :: Want You Women Up North to Know

Lines 85-97 of Tillie Olsen's originally distributed sonnet I Want You Women Up North to Know contain the climactic defining moment of this sonnet, and the language and structure mirror this change. Rather than being modest and disconnected casualties who remain for the most part mysterious, the laborers are changed into an irate and brought together gathering of particular people. This move in state of mind is cultivated by three gadgets: symbolism, gathering, and capitalization of legitimate names. The symbolism in this entry helps turn the tone of the sonnet from exploitation to outrage. Notwithstanding fire pictures, the general language is totally stripped down to exposed grotesqueness. In past lines, the shamefulness has been intermixed with sprightly code words: the horrifying work is a lovely move (24); the trembling hands are white gulls (22); the hack is gay (25). In any case, in these later lines, all stylishly satisfying terms evaporate, leaving sweet and †¦blood (85), naked†¦ [and]†¦bony kids (89), and a skeleton body (95). Another way this entry turns the mind-set of the sonnet is by utilizing gathering and structure to interface the laborers together, both in derivation and appearance. Beforehand, each worker’s circumstance has been treated as a disconnected story, truly isolated from the others by a clear line. In any case, lines 85-97 are packed together without spaces, proposing solidarity by the very appearance of the lines. The entirety of the complaints are quickly rehashed, and afterward a grouping of ands ties the one-sentence recaps together. However notwithstanding this feeling of solidarity, each person’s story is given its own sentence with a period limit, unobtrusively stressing their individual significance: solidarity is worthy, yet namelessness isn't. A last noteworthy gadget in this entry is the utilization of capitalization. The best possible names of the laborers have been inconsistently promoted before in the sonnet, however here they are on the whole steady and right. Once more, this is an accentuation on singular significance, a request that every one of these individuals merits an interesting appropriate name. The previous every single lowercase name like catalina rodiguez (16) really mix into the lines of verse, proposing hunkering and lack of definition, yet here the capitalized letters in their names stand apart plainly from different words. Curiously, despite the fact that the individual names are promoted, christ (96) is left in lowercase, like the past treatment of god (57, 60, 62). This appear differently in relation to the capitalization of the worker’ names suggests that God and Christ have bombed the laborers and are currently dominated by a maturing fearlessness in the laborers.