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Susan Lohafer characterises the story as "a spare iconography of working-class life that makes the story a perfect set-piece for cultural studies" (475). In the story, an aging charwoman must not only cope with the death of her grandson, she must also deal with the fact that she has no place to go where she can be by herself and give way to her grief.
Nothing that she has achieved in her entire working life has resulted in the acquisition of such a private place. Instead, she has buried her husband, a baker who died of "white lung disease" and those children who survived the high rate of infant mortality fell victim to other ills of the late-Victorian underclass: immigration, prostitution, poor health, worse luck (Lohafer 475)...
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