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The important but little-known story of elite southern white women's successful quest for a measure of self-reliance and independence between antebellum strictures and the restored patriarchy of Jim Crow.
These letters of a man deeply concerned about his country, directly involved in political action, and torn, as the Civil War approached, by the conflict between his abolitionist zeal and his Quaker pacifism--letters here collected for the first time and many of them hitherto unpublished--shatter the stereotype of Whittier as "the good gray poet." The many letters to such figures as John Quincy Adams, Charles Sumner, and William Lloyd Garrison form a detailed record of the abolitionist movement from its inception to its merging with the Free Soil party in the 1850s. The first two volumes reproduce all the extant letters from 1828 to 1860, with full annotations. The last volume is selective, excluding several thousand perfunctory items and including only the historically or biographically interesting letters of the last three decades of the poet's life.
At the commencement of the year 1885, a captivating little volume of poems was mysteriously issued from the "Leadenhalle Presse" of Messrs. Field and Tuer—a quaint, vellum-bound, antique-looking book, tied up on all sides with strings of golden silk ribbon, and illustrated throughout with fanciful wood-cuts. It was entitled "Love Letters by a Violinist," and those who were at first attracted by its title and suggestive outward appearance, untied the ribbons with a certain amount of curiosity. Love-letters were surely of a private, almost sacred character. What "Violinist" thus ventured to publish his heart-records openly? And were they worth reading? Were the questions asked by the public, and last, not least, came the natural inquiry, "Who was the 'Violinist'?" To this no satisfactory answer could be obtained, for nobody knew. But it was directly proved on perusal of the book that he was a poet, not a mere writer of verse. The poet was Eric Mackay.