Good friend of RSB, the publisher and writer Anthony Rudolf, contacted me when he heard of Olsen's death. Anthony knew Tillie and had recently written to the TLS championing her work in a letter that they didn't print but I reproduce below:
Two missing titles so astonished me in Claire Harman’s review of Myles Weber’s Consuming Silences – “a study of famously stalled or one-hit writers” -- that I reread the piece to make sure my eyes had not skipped a few sentences. No, I was right first time. I am referring to Tillie Olsen’s wonderful but supposedly unfinished novel Yonnondio: from the Thirties (Faber, 1975) -- the confused manuscripts turned up in the early 1970s and she reworked them nearly forty years after writing the book (1932-1936) -- and to Ralph Ellison’s second novel Juneteenth, also unfinished (he lost years because part of the manuscript was consumed in a fire) and which received a mixed critical reception. For me, Yonnondio is no more unfinished than Schubert’s symphony.
Unfortunately, there are two possibilities concerning these omissions: either Myles Weber did not mention the two books, which raises severe doubts about his research and his conclusions, or Claire Harman herself has failed to mention them. If Weber did not mention them, Harman should have rebuked him, assuming she knew of their existence. If he did mention them, perhaps she was unconsciously seeking to improve the story of silence on the part of two prose fiction writers who, on the strength of their first books, Tell me a Riddle and Invisible Man, count as major figures in American literature. As indeed does Henry Roth, whose late and prodigious flowering after decades of silence – although he wrote essays -- surely muddies the waters of Weber’s thesis more than Harman allows.
As for Ellison, not only did he write a second novel, he also wrote many extraordinary essays. Since when is a writer obliged to write only in one genre? To judge by Harman’s account (or her account of Weber), you would think Ellison did nothing for decades but worry about Invisible Man. In respect (or rather disrespect) of Tillie Olsen, Claire Harman vilifies and ridicules Silences, a classic work about creativity and its associated problems. Finally, Harman (or Harman’s Weber) is simplistic when it comes to Olsen’s class politics, which have to be read and understood alongside the legendary long silence of a great poet, her near contemporary George Oppen.
This is a good opportunity to ask your readers if they can help me concerning the provenance of a brilliant and appropriate phrase Tillie Olsen uses in Silences, namely ‘trespass vision’, as applied to Rebecca Harding’s Life in the Iron Mills, and which she herself puts in quotation marks. This suggests she has borrowed the phrase from another writer, but unusually she does not give a reference.