Quilt: "To comprehend the story one may follow the technique of the housewives, who in making their comprehensive patchwork quilt, sort and sift through trivia and discarded material, match small scraps together, and then sew piece after piece into ever enlarging squares. The 'log cabin' patchwork the women discover . . . is made exactly in this fashion: Rectangular scraps are sewn around the original square or rectangle, followed by a series of longer scraps which are measured to the increasing size of the quilt. . . . the general pattern is one that emerges with the quilt" (Alkalay-Gut 2). Return to Text.
Footsteps: The men enter and leave the room, "physically crisscross[ing] the stage as they verbally crisscross the details of the crime, both actions leading nowhere, staged to show ineffectuality and incompetence"; in this way, Glaspell undercuts their authority and questions their power (Ben-Zvi 155). Return to Text.
Bird: 1. The bird was a "child-substitute for the solitary Minnie; the canary's voice was to displace the silence of a coldly authoritarian husband and replace the sounds of the unborn children" (Makowsky 62). 2. "Through the traditional literary metaphor of the bird's song as the voice of the soul, the women acknowledge that John Wright not only killed Minnie's canary, but her very spirit" (Makowsky 62). 3. "Minnie understood her husband's action as a symbolic strangling of herself, his wife. It is not just because he killed the bird, but because Minnie herself was a caged bird . . . and he strangled her by preventing her from communicating with others" (Alkalay-Gut 6). Return to Text.
Knot it: 1. This image "conveys the sense of knotting the rope around the husband's neck: they have discovered the murderess. And they will 'knot' tell" (Alkalay-Gut 8). 2. "The bond among women is the essential knot" (Smith 179). Return to Text.
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