When getting ready to teach Susan Glaspell’s Trifles (1916) last week, I found myself looking through the anthology I am using for some poems to go along with the play. I found a couple by Amy Lowell and Edna St. Vincent Millay that would have possibly worked; however, none of them captured the spirit of Minnie Wright’s confinement and pain quite like Charlotte Perkins Gilman’s “The Housewife” which appeared in her collection Suffrage Songs and Verses (1911). Today, I want to briefly look at the ways we can use Gilman’s “The Housewife” when discussing Glaspell’s Trifles.
On Tuesday, I wrote about 100 Rifles (1969) as a commentary on the cultural moment that it originally appeared within. Today, I want to continue that discussion by briefly looking at couple of more scenes from the film that should be examined. Continuing from where the previous post left off, this post will look at Lyedecker and Herrera’s conversation with the priest as they walk towards their execution. Along with this scene, I will briefly discuss the relationship between Lyedecker and Sarita that develops throughout the course of the film.
Last week, I read a post on Shadow and Act about the 1969 western 100 Rifles, film based off of Robert MacLeod’s The Californio (1966). In his piece for Shadow and Act, Sergio Mims discusses Jim Brown’s role in the film, the fact that he portrayed such a strong character, and the interracial relationship that blossomed between Brown’s and costar Raquel Welch’s characters. After reading the piece, I decided to track down the film and watch it. While the interracial scene is important, and I will talk about that briefly later, there are some other aspects of the film and some other scenes that should be discussed in relation to race and colonialism.