the narrator of the poem specifically addresses women consumers in the North who benefit from women laborers in the South. The gendered descriptions of longing, motherhood, and sacrifice are directed to an audience that would be more likely to sympathize with the content rather than a male audience. In first mentioning Macy's, Gimbels, and Marshall Field's, the narrator of the poem makes references that women in the North would understand. As the narrator continues to mention "the salesladies trill", the "bloated face", and a "dissolve into maria, ambrosa, catalina", Lynch argues that Northern women readers are gradually ushered into a previously unknown world. She supports that reading could also make the women of the North victims of a capitalist system because they unknowingly contribute to the exploitation of their sex. In analyzing "I Want You Women up North to Know" Constance Coiner notes Olsen's opposition to what she calls "the bourgeois poet" when Olsen parodies more lyrical language which would not be considered appropriate for the harsh content of the poem in lines 21–29. According to Coiner, Olsen believed overly artistic language would distance the reader from the true experience of the women in the poem. Her mimicry of "the bourgeois poet" parodies what Coiner refers to as a "tradition of 'romanticizing' the worker" which would counteract the political agenda of proletariat writing. The genre shift from Ibarro's letter to Olsen's poem is possibly the most notable difference between the two pieces of writing. Cary Nelson also observes Coiner's reading of Olsen's resistance of "the bourgeois poet" but also notes that the poem is not entirely opposed to rhythmic language and poetic style. Even though Olsen rejects the style of "the bourgeois poet," her work is still nevertheless poetry and is subject to questioning about its moral and political implications. Though the appropriateness of Olsen's figurative language for her proletariat purpose has been debated, Nelson finds the poem "politically successful." In addition, she argues its contemporary relevance as sweatshops in other nations still exist. In this way, Nelson argues, the women in the poem become representative of a suffering class or body which could speak to readers and workers on a global or international level. References 1934 poems American poems Works set during the Great Depression