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In the decades spanning the nineteenth century, thousands of women entered the literary marketplace. Twelve of the century's most successful women writers provide the focus for Mary Kelley's landmark study: Maria Cummins, Caroline Howard Gilman, Caroline Lee Hentz, Mary Jane Holmes, Maria McIntosh, Sara Parton, Catharine Maria Sedgwick, E.D.E.N. Southworth, Harriet Beecher Stowe, Mary Virginia Terhune, Susan Warner, and Augusta Evans Wilson. These women shared more than commercial success. Collectively they created fictions that Kelley terms "literary domesticity," books that both embraced and called into question the complicated expectations shaping the lives of so many nineteenth-century women. Matured in a culture of domesticity and dismissed by a male writing establishment, they struggled to reconcile public recognition with the traditional roles of wife and mother. Drawing on the 200 volumes of published prose and on the letters, diaries, and journals of these writers, Kelley explores the tensions that accompanied their unprecedented literary success. In a new preface, she discusses the explosion in the scholarship on writing women since the original 1984 publication of Private Woman, Public Stage and reflects on the book's ongoing relevance.
Most social historians writing about working women in pre-nineteenth century Britain have tended to concentrate on fairly large groups, such as factory workers or domestic servants, often in an attempt to reach some conclusions regarding their standards of living and social position. Another approach has lead feminist historians to search for underlying causes of women's exploitation through the locus of class and gender. Without ignoring these crucial issues, this volume written by cultural historians takes a slightly different approach, focusing on the status of small, sometimes tiny, groups of women holding marginal positions in the labour market, and often employed on an irregular basis. Women such as housekeepers, nurses, camp followers, governesses, actresses and musicians, to take some of the cases examined in this volume, generally did not have stable, permanent employment. Even female tradesmen often only worked for short periods of their lives. The temporary, unreliable character of such work can be partly related to the changing needs of women at different periods of their lives, but it also has much to do the status of women's work in eighteenth century British society. Providing case-studies of women's work in three different environments - middle and upper class households, male dominated communities and societies and the world of the arts - this collection asks fresh questions about women's aspirations and identity at various levels of society. In comparing and contrasting these varying spheres of female employment, this book throws in sharp relief the contrasting attitude to women's work inside and outside the home, and how the latter was often regarded as having a potentially destabilising and transgressive effect on British society.
A teenage orphan from Vermont, Mary Gibson burst onto the literary scene during the early 1850s as a star writer, under the pseudonym Winnie Woodfern, for more than half a dozen Boston “story papers,” mass-circulation weekly periodicals that specialized in popular fiction. Although she would soon join such famous woman authors as Fannie Fern and E. D. E. N. Southworth as featured contributors to the New York Ledger, America’s greatest story paper, Gibson’s subsequent output rarely matched the gender-bending creativity of the tales written in her late teens and early twenties and reprinted in this volume. But “Hero Strong” and Other Stories does much more than recover the work of a forgotten literary prodigy. As explained by historian Daniel A. Cohen, Gibson’s tales also illuminate major interrelated transformations in American girlhood and American women’s authorship. Challenging traditional gender expectations, thousands of girls of Gibson’s generation not only aspired to public careers as writers, artists, educators, and even doctors but also began to experiment with new forms of “female masculinity” in attitude, bearing, behavior, dress, and sexuality—a pattern only gradually domesticated by the nonthreatening image of the “tomboy.” Some, such as Gibson, at once realized and reenacted their dreams on the pages of antebellum story papers. This first modern scholarly edition of Mary Gibson’s early fiction features ten tales of teenage girls (seemingly much like Gibson herself) who fearlessly appropriate masculine traits, defy contemporary gender norms, and struggle to fulfill high worldly ambitions. In addition to several heroines who seek “fame and riches” as authors or artists, Gibson’s unconventional protagonists include three female medical students who resort to grave robbing and a Boston ingénue who dreams of achieving military glory in battle. By moving beyond “literary domesticity” and embracing bold new models of women’s authorship, artistry, and worldly achievement, Gibson and her fictional protagonists stand as exemplars of “the first generation of American girls who imagined they could do almost anything.” Daniel A. Cohen is an associate professor of history at Case Western Reserve University. His previous publications include Pillars of Salt, Monuments of Grace: New England Crime Literature and the Origins of American Popular Culture, 1674–1860 and ‘The Female Marine’ and Related Works: Narratives of Cross-Dressing and Urban Vice in America’s Early Republic.
During her long career as a public figure in Jacksonian America, Anne Royall was called everything from an "enemy of religion" to a "Jackson man" to a "common scold." In her search for the source of such strong reactions, Elizabeth Clapp has uncovered the story of a widely read woman of letters who asserted her right to a political voice without regard to her gender. Widowed and in need of a livelihood following a disastrous lawsuit over her husband’s will, Royall decided to earn her living through writing--first as a travel writer, journeying through America to research and sell her books, and later as a journalist and editor. Her language and forcefully expressed opinions provoked people at least as much as did her inflammatory behavior and aggressive marketing tactics. An ardent defender of American liberties, she attacked the agents of evangelical revivals, the Bank of the United States, and corruption in government. Her positions were frequently extreme, directly challenging the would-be shapers of the early republic’s religious and political culture. She made many enemies, but because she also attracted many supporters, she was not easily silenced. The definitive account of a passionate voice when America was inventing itself, A Notorious Woman re-creates a fascinating stage on which women’s roles, evangelical hegemony, and political involvement were all contested.
Coultrap-McQuin investigates the reasons for women's unprecedented literary professionalism in the nineteenth century, highlighting the experiences of E.D.E.N. Southworth, Harriet Beecher Stowe, Gail Hamilton, Helen Hunt Jackson, and Elizabeth Stuart Phelps Ward. She examines the cultural milieu of women writers, the ideals and practices of the literary marketplace, and the characteristics of women's literary activities that brought them success. Originally published in 1990. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
In this indispensable volume, fourteen intellectually compelling essays consider Kate Chopin's life and art from a variety of critical perspectives—biographical, New Historicist, materialist, poststructuralist, feminist—with several of the pieces focusing on Chopin's classic novel, The Awakening.
In this compelling interdisciplinary study, Linda Grasso demonstrates that using anger as a mode of analysis and the basis of an aesthetic transforms our understanding of American women's literary history. Exploring how black and white nineteenth-century women writers defined, expressed, and dramatized anger, Grasso reconceptualizes antebellum women's writing and illuminates an unrecognized tradition of discontent in American literature. She maintains that two equally powerful forces shaped this tradition: women's anger at their exclusion from the democratic promise of America, and the cultural prohibition against its public articulation. Grasso challenges the common notion that nineteenth-century women's writing is confined to domestic themes and shows instead how women channeled their anger into art that addresses complex political issues such as slavery, nation-building, gender arrangements, and race relations. Cutting across racial and genre boundaries, she considers works by Lydia Maria Child, Maria W. Stewart, Fanny Fern, and Harriet Wilson as superb examples of the artistry of angry expression. Transforming their anger through literary imagination, these writers bequeathed their vision of an alternative America both to their contemporaries and to subsequent generations.
Explores the relationship between copyright laws and women's writing in nineteenth-century America.
This collection of new essays explores the role played by women practitioners in the arts during the period often referred to as the Belle Epoque, a turn of the century period in which the modern media (audio and film recording, broadcasting, etc.) began to become a reality. Exploring the careers and creative lives of both the famous (Sarah Bernhardt) and the less so (Pauline Townsend) across a remarkable range of artistic activity from composition through oratory to fine art and film directing, these essays attempt to reveal, in some cases for the first time, women's true impact on the arts at the turn of the 19th century.