The Amelia Bedelia children's series can be read as a product of mid-20th-century feminism and a reflection on class, domestic labor, and women's work.
” are well known as complex and subterranean ruminations on death and identity and community. Had you asked me a couple of years ago, I would not have classified Peggy Parish’s Amelia Bedelia series with this loftier group—my children delighted in the wordplay, but I found the books a bit one-note.
Yet the more I read Amelia Bedelia the more unsettled I felt; I began to suspect that I wasn’t hearing all the notes. The books, with illustrations by Fritz Siebel, depict a young woman who sows domestic chaos in and around the home of her wealthy employers, a snooty older couple who have outsourced the labor of keeping their household, family, and community relations running smoothly.
As an employee who produces turmoil at work and is overseen by amiable jerks, Amelia Bedelia reminds me of Bartleby, from Herman Melville’s short story “,” from 1853. “I would prefer not to” is Bartleby’s famous refrain; if he took Amelia’s job, Bartleby would neither pull the drapes from the windows nor sketch them with pen and paper but sit and stare at them with stoic despondence.
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