Abstract
Abstract: This essay examines how Meridel Le Sueur's novel, The Girl , censures Depression-era eugenic sterilizations via both the story it tells and the forms it employs. Arguing that the text works to expose the imbrication of capitalist production and sexual reproduction, the essay explores how the narrative attends to labor on two fronts: labor as work and labor as childbirth. It also considers how and why Le Sueur eschewed influential leftist writer and editor Mike Gold's precepts for proletarian realism and instead pioneered what I term a running style.
Published Version
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