beginning of the short story "Tell Me a Riddle" (1960), also included in Tell Me a Riddle, Requa I and Other Works (2013) - Tillie Olsen

When the youngest of our four was in school, the beginnings struggled toward endings. This was a time, in Kafka's words, "like a squirrel in a cage: bliss of movement, desperation about constriction, craziness of endurance." Bliss of movement. A full extended family life; the world of my job (transcriber in a dairy-equipment company); and the writing, which I was somehow able to carry around within me through work, through home. Time on the bus, even when I had to stand, was enough; the stolen moments at work, enough; the deep night hours for as long as I could stay awake, after the kids were in bed, after the household tasks were done, sometimes during. It is no accident that the first work I considered publishable began: "I stand here ironing, and what you asked me moves tormented back and forth with the iron." In such snatches of time I wrote what I did in those years, but there came a time when this triple life was no longer possible.

In our century, until very recently, it has not been so different. Most did not marry (Selma Lagerlof, Willa Cather, Ellen Glasgow, Gertrude Stein, Gabriela Mistral, Elizabeth Madox Roberts, Charlotte Mew, Eudora Welty, Marianne Moore) or, if married, have been childless (Edith Wharton, Virginia Woolf, Katherine Mansfield, Dorothy Richardson, H.H. Richardson, Elizabeth Bowen, Isak Dinesen, Katherine Anne Porter, Lillian Hellman, Dorothy Parker). Colette had one child (when she was forty). If I include Sigrid Undset, Kay Boyle, Pearl Buck, Dorothy Canfield Fisher, that will make a small group who had more than one child. All had household help or other special circumstances.

In that Czarist Russia, Jewish girls were not taught even to read and write. It took (my mother) becoming a revolutionary and joining the Bund, the Jewish Bund, a socialist organization, to learn to read and love books.