Nineteenth-Century Nineteenth-Century Women Women

and Authorshipand AuthorshipThe Case of Louisa May AlcottThe Case of Louisa May Alcott

Nineteenth-Century Nineteenth-Century AuthorshipAuthorship

►Not a true profession for gentlemen—or Not a true profession for gentlemen—or ladies.ladies.

► Ideology of “the Angel in the House” Ideology of “the Angel in the House” (Coventry Patmore) and “True Womanhood” (Coventry Patmore) and “True Womanhood” kept women out of the public sphere and in kept women out of the public sphere and in the private sphere.the private sphere.

►To step outside domesticity for reasons of To step outside domesticity for reasons of ambition threatened one’s reputation as a ambition threatened one’s reputation as a “womanly woman”“womanly woman”

►Writing for necessity—to earn a living—was Writing for necessity—to earn a living—was acceptable for women authors.acceptable for women authors.

Socially Acceptable Outlets for Socially Acceptable Outlets for Women’s WritingWomen’s Writing

►Writing for church papersWriting for church papers►Writing for reform (abolitionist tracts, Writing for reform (abolitionist tracts,

prison reform, temperance). Example: prison reform, temperance). Example: Harriet Beecher Stowe, Harriet Beecher Stowe, Uncle Tom’s Uncle Tom’s CabinCabin (1852) (1852)

►Writing on domestic issues: Catharine Writing on domestic issues: Catharine Beecher’s Beecher’s The American Woman’s The American Woman’s Home Home (1869)(1869)

►Woman’s fiction, also called “domestic Woman’s fiction, also called “domestic fiction” or “sentimental fiction” fiction” or “sentimental fiction”

Domestic Fiction, 1830-1865Domestic Fiction, 1830-1865

Young girl who is orphaned or otherwise forced Young girl who is orphaned or otherwise forced to go out into the world on her own. to go out into the world on her own.

►Heroine embodies one of two types: Heroine embodies one of two types: The angel in the houseThe angel in the house The practical woman The practical woman

►These contrast with two types who fail to help These contrast with two types who fail to help or sometimes torment her: or sometimes torment her: The passive woman (incompetent, cowardly, The passive woman (incompetent, cowardly,

ignorant; often the heroine's mother is this type) ignorant; often the heroine's mother is this type) The "belle," who suffers from a defective The "belle," who suffers from a defective

education.education.►Heroine must learn self-mastery and self-Heroine must learn self-mastery and self-

denial.denial.

Domestic Fiction, continuedDomestic Fiction, continued

► Immersion in feeling (rather than Immersion in feeling (rather than reason) a danger.reason) a danger.

►MarriageMarriage Reforming the bad or "wild" male, as in Reforming the bad or "wild" male, as in

Augusta Evans's Augusta Evans's St. ElmoSt. Elmo (1867) (1867) Marrying the solid male who already Marrying the solid male who already

meets her qualifications. meets her qualifications. ►The novels may use a "language of The novels may use a "language of

tears" that evokes sympathy from the tears" that evokes sympathy from the readers.readers.

ExamplesExamples

►Maria Cummins, Maria Cummins, The The LamplighterLamplighter (1854) (1854)

► Susan Warner, Susan Warner, The The Wide, Wide WorldWide, Wide World (1850) (1850)

►Warner’s book sold well Warner’s book sold well over 100,000 (and some over 100,000 (and some sources say 1,000,000) sources say 1,000,000) copies in 1850 when copies in 1850 when The The Scarlet Letter Scarlet Letter sold sold 10,000.10,000.

Hawthorne’s ReactionHawthorne’s Reaction

►Hawthorne to his publisher, 1855: “America Hawthorne to his publisher, 1855: “America is now wholly given over to a damned mob is now wholly given over to a damned mob of scribbling women, and I should have no of scribbling women, and I should have no chance of success while the public taste is chance of success while the public taste is occupied with their trash–and should be occupied with their trash–and should be ashamed of myself if I did succeed.  What is ashamed of myself if I did succeed.  What is the mystery of these innumerable editions the mystery of these innumerable editions of the ‘Lamplighter,’ and other books of the ‘Lamplighter,’ and other books neither better nor worse?–worse they could neither better nor worse?–worse they could not be, and better they need not be, when not be, and better they need not be, when they sell by the 100,000.”they sell by the 100,000.”

Alcott’s Work as “Alcott”Alcott’s Work as “Alcott”

► Flower Fables Flower Fables (written for Ellen (written for Ellen Emerson)Emerson)

► Little Women Little Women (1868) and (1868) and Good Good Wives Wives (1869)(1869)

► An Old-Fashioned GirlAn Old-Fashioned Girl (1870) (1870)► Little Men Little Men (1871)(1871)► ““Transcendental Wild Oats” Transcendental Wild Oats”

(1873)(1873)► Work, a Story of Experience Work, a Story of Experience

(1873)(1873)► Eight Cousins Eight Cousins (1875) and (1875) and Rose Rose

in Bloom in Bloom (1876)(1876)► Jo’s Boys Jo’s Boys (1886)(1886)

Alcott’s Work as “A.M. Alcott’s Work as “A.M. Barnard”Barnard”

► ““Pauline’s Passion and Pauline’s Passion and Punishment,” $100 prize from Punishment,” $100 prize from Frank Leslie’s Illustrated Frank Leslie’s Illustrated Newspaper Newspaper in 1862. in 1862.

► ““V.V.; or, Plots and Counterplots” V.V.; or, Plots and Counterplots” ► The Mysterious Key, The Mysterious Key, 18671867► ““A Marble Woman: or, The A Marble Woman: or, The

Mysterious Model,” Mysterious Model,” The Flag of The Flag of Our Union, Our Union, May-June 1865.May-June 1865.

► ““Behind a Mask: or, A Woman’s Behind a Mask: or, A Woman’s Power,” published in Power,” published in The Flag of The Flag of Our UnionOur Union on October 13, 20, 27, on October 13, 20, 27, and Nov. 3, 1866and Nov. 3, 1866

Alcott on AlcottAlcott on Alcott

►On her children’s fiction: “Moral pap On her children’s fiction: “Moral pap for the young.” for the young.”

►On her thrillers: “I think my natural On her thrillers: “I think my natural ambition is for the lurid style. . . . And ambition is for the lurid style. . . . And my favorite characters! Suppose they my favorite characters! Suppose they went to cavorting at their own sweet went to cavorting at their own sweet will, to the infinite horror of dear Mr. will, to the infinite horror of dear Mr. Emerson [?]” Emerson [?]”