Originally from the village of Gnichwitz, Silesia, Mathilda emigrated to the United States with her husband Erwin and then-infant son Rudi in 1886. Seven years later, Mathilda finds herself in a small tenement apartment on Orchard Street, trying to keep her and Rudi afloat after Erwin’s death the year prior. To make ends meet, she works as a fabric baster for the Metropolitan Cloak & Novelty Company—though, she relies on Ivy (and what little she makes) to ensure they can make rent. When she does get a free night to herself, she loves to read the latest romance stories in her favorite German periodicals. 

Having lost Erwin in a work-related incident the year prior, Mathilda grapples with her new role as a single working mother while grieving her loss—a reality often obscured by her warm and upbeat personality. She is also refreshingly blunt in stating her thoughts to those around her, a product of having learned English as a second language. Despite the trials thrown her way, Mathilda remains grounded in the words of Erwin, “Wir Schaffen das”— that somehow, she, Rudi, and those she loves will pull through the storm.

Mathilda is one of the “First Four”, the first four original characters I created. I can trace her back to 2008, as the main character “Maria” in a story I called “The Great Escape”. 

Officially renamed “Mathilde” (later spelled “Mathilda”) in 2013, Mathilda originally starred as a main narrator in this story-world, often depicted at work in a factory setting and barely surviving on what she made. Her Silesian nationality, surname, and family history are directly inspired by my Omi, and what she taught me about Silesian/German customs and traditions. Her working life is equally inspired by the many women in my family who work (or have worked) outside the home, which impressed upon me much more than I gave it credit for in my teenage years.

In college, my research on the relationship between women and gainful employment in the late 19^th century further bolstered Mathilda’s ties to work traditionally associated with men (with a healthy dose of late-19^th century labor politics to boot). Her relationship status also changed in college, becoming a wife and mother character in late 2018. More or less, she’s remained the same since.

Unfortunately, Mathilda’s long, plodding style of narration was her ultimate undoing as a main narrator. Especially as the story-world changed around her, I came to realize that so much of Mathilda’s world was already narrated in Ivy’s perspective, from Ivy’s much more engaging manner of speech. Thus in 2023, I made the difficult decision to change Mathilda from a main narrator to a very prominent supporting character. Thankfully, she has taken this change with grace and has thrived in her new role.

I very rarely call Mathilda by her full name. Most often, I shorten her name to “Mat” when writing about her in my plot rambles, or during the first drafts of scenes involving her—and, really up until 2022, every character in her story-world also called her “Mat”. In 2023, I decided on “Mattie” as a compromise between using her full name and her shortened alternative, specifically used by close friends within the novel. (I, however, still call her “Mat”!)

Mathilda’s doll was created by my aunt for Christmas 2014. Her current outfit was sewn by me in 2022 (though, the blue coat may be a 2017 or 2018 remake).

Songs whose lyrics and/or melody call to mind scenes involving Mathilda; character development and beliefs; or general moods and themes from over the years.

Helen

Ivy

Rudi