Harriet Tubman’s name is known world-wide and her exploits as a self-liberated Underground Railroad heroine are celebrated in children’s literature, film, and history books, yet no major biography of Tubman has appeared since 1943. Jean M. Humez’s comprehensive Harriet Tubman is both an important biographical overview based on extensive new research and a complete collection of the stories Tubman told about her life—a virtual autobiography culled by Humez from rare early publications and manuscript sources. This book will become a landmark resource for scholars, historians, and general readers interested in slavery, the Underground Railroad, the Civil War, and African American women.
Born in slavery in Maryland in or around 1820, Tubman drew upon deep spiritual resources and covert antislavery networks when she escaped to the north in 1849. Vowing to liberate her entire family, she made repeated trips south during the 1850s and successfully guided dozens of fugitives to freedom. During the Civil War she was recruited to act as spy and scout with the Union Army. After the war she settled in Auburn, New York, where she worked to support an extended family and in her later years founded a home for the indigent aged. Celebrated by her primarily white antislavery associates in a variety of private and public documents from the 1850s through the 1870s, she was rediscovered as a race heroine by woman suffragists and the African American women’s club movement in the early twentieth century. Her story was used as a key symbolic resource in education, institutional fundraising, and debates about the meaning of "race" throughout the twentieth century.
Humez includes an extended discussion of Tubman’s work as a public performer of her own life history during the nearly sixty years she lived in the north. Drawing upon historiographical and literary discussion of the complex hybrid authorship of slave narrative literature, Humez analyzes the interactive dynamic between Tubman and her interviewers. Humez illustrates how Tubman, though unable to write, made major unrecognized contributions to the shaping of her own heroic myth by early biographers like Sarah Bradford. Selections of key documents illustrate how Tubman appeared to her contemporaries, and a comprehensive list of primary sources represents an important resource for scholars.
At her death in 1986, Harriette Simpson Arnow left a modest collection of published work: ten short stories, five novels, two non-fiction books, a short autobiography, and nineteen essays and book reviews. Although the sum is small, her writing has been examined from regionalist, Marxist, feminist, and other critical perspectives.
The 1970s saw the first serious attempts to revive interest in Arnow. In 1971, Tillie Olsen identified her as a writer whose "books of great worth suffer the death of being unknown, or at best, a peculiar eclipsing." Joyse Carol Oates wrote in The New York Times Book Review that Arnow's The Dollmaker is "our most unpretentious American masterpiece."
In the 1990s, it is appropriate to take stock of her earlier work and to prompt reexamination of this powerful yet poorly understood writer. This collection of critical essays examines traditional as well as new interpretations of Arnow and her work. It also suggests future directions for Arnow scholarship and includes studies of all of Arnow's writing, fiction and non-fiction, published and unpublished.
In the period between 1815 and 1820, Mary Shelley wrote her most famous novel, Frankenstein; or, The Modern Prometheus, as well as its companion piece, Mathilda, a tragic incest narrative that was confiscated by her father, William Godwin, and left unpublished until 1959. She also gave birth to four—and lost three—children.
In this hybrid text, Rachel Feder interprets Frankenstein and Mathilda within a series of provocative frameworks including Shelley’s experiences of motherhood and maternal loss, twentieth-century feminists’ interests in and attachments to Mary Shelley, and the critic’s own experiences of pregnancy, childbirth, and motherhood. Harvester of Hearts explores how Mary Shelley’s exchanges with her children—in utero, in birth, in life, and in death—infuse her literary creations. Drawing on the archives of feminist scholarship, Feder theorizes “elective affinities,” a term she borrows from Goethe to interrogate how the personal attachments of literary critics shape our sense of literary history. Feder blurs the distinctions between intellectual, bodily, literary, and personal history, reanimating the classical feminist discourse on Frankenstein by stepping into the frame.
The result—at once an experimental book of literary criticism, a performative foray into feminist praxis, and a deeply personal lyric essay—not only locates Mary Shelley’s monsters within the folds of maternal identity but also illuminates the connections between the literary and the quotidian.
Robyn R. Warhol’s goal is to investigate the effects of readers’ emotional responses to formulaic fiction of the nineteenth and twentieth centuries on gendered subjectivity. She argues that modern literary and cultural studies have ignored nonsexual affectivity in their inquiries. The book elaborates on Warhol’s theory of affect and then focuses on sentimental stories, marriage plots, serialized novels, and soap operas as distinct genres producing specific feelings among fans.
Popular narrative forms use formulas to bring up familiar patterns of feelings in the audiences who love them. This book looks at the patterns of feelings that some nineteenth- and twentieth-century popular genres evoke, and asks how those patterns are related to gender. Soap operas and sentimentalism are generally derided as “effeminate” forms because their emotional range is seen as hyperfeminine. Having a Good Cry presents a celebration of effeminate feelings and works toward promoting more flexible, less pejorative concepts of gender. Using a psychophysiological rather than a psychoanalytic approach to reading and emotion, Warhol seeks to make readers more conscious of what is happening to the gendered body when we read.
The Masses was the most dynamic and influential left-wing magazine of the early twentieth century, a touchstone for understanding radical thought and social movements in the United States during that era. As a magazine that supported feminist issues, it played a crucial role in shaping public discourse about women's concerns. Women editors, fiction writers, poets, and activists like Mary Heaton Vorse, Louise Bryant, Adriana Spadoni, Elsie Clews Parsons, Inez Haynes Gillmore, and Helen Hull contributed as significantly to the magazine as better-known male figures.
In this major revisionist work, Margaret C. Jones calls for reexamination of the relevance of Masses feminism to that of the 1990s. She explores women contributors' perspectives on crucial issues: patriarchy, birth control, the labor movement, woman suffrage, pacifism, and ethnicity. The book includes numerous examples of the writings and visual art of Masses women and a series of biographical/bibliographical sketches designed to aid other researchers.
Tracing the Victorian crisis over the representation of working-class women to the 1842 Parliamentary bluebook on mines, with its controversial images of women at work, Hidden Hands argues that the female industrial worker became even more dangerous to represent than the prostitute or the male radical because she exposed crucial contradictions between the class and gender ideologies of the period and its economic realities.
Drawing on the recent work of feminist historians, Patricia Johnson lays the groundwork for a reinterpretation of Victorian social-problem fiction that highlights its treatment of issues that particularly affected working-class women: sexual harassment; the interconnections between domestic ideology and domestic violence; their relationships to male-dominated working-class movements such as Luddism, Chartism, and unionism; and their troubled connection to middle-class feminism.
Uncovering a series of images in Victorian fiction ranging from hot-tempered servants and sexually harassed factory girls to working-class homemakers pictured as beaten dogs, Hidden Hands demonstrates that representations of working-class women, however marginalized or incoherent, reveal the very contradictions they are constructed to hide and that the dynamics of these representations have broad implications both for other groups, such as middle-class women, and for the emergence of working-class women as writers themselves.
Ever since the publication of her first H.D. essay in 1985 (included here in an expanded version), Morris has eschewed prevailing literary trends in favor of new approaches that both challenge and overpass dominant critical constructs. As she argues in this volume, the writing and, crucially, the reading of poetry is a process in which meaning is produced by the interplay of words on a page and in the ear of the reader. This quality of being not heard but overheard, composed within the body, is crucial to an appreciation of H.D.
Morris shows H.D. to be a playful linguistic innovator whose writings bear on debates in science, technology, and cinema as well as on poetry. Foremost, however, H.D. was a profound reshaper of the boundaries and possibilities of poetry, a generative form that, as this book shows, can indeed serve the cultural work of survival and resistance against the violence of modern culture.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press