By Lynn Mahoney
This publication strains Stoddard's emergence as a author within the 1850s, her conflict-ridden relationships with the writers linked to the genteel culture, and her efforts to barter the bounds of Victorian tradition within the usa. whereas in lots of methods a critic of nineteenth-century bourgeois tradition, Stoddard remained in alternative routes an adherent; her paintings was once now not a rejection of bourgeois tradition yet a remodeling of it, which implies that bourgeois tradition was once no longer as monolithic as later critics believed. improving the richness and chance that characterised early Victorian writing, this booklet examines the variety of literary expression which had existed at mid-century, a interval that boasts a few of American literature's so much iconoclastic voices.
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Additional resources for Elizabeth Stoddard & the Boundaries of Bourgeois Culture (Studies in Major Literary Authors)
He was the first person who ever made any appeal to my intellect,” Margaret concedes. She realizes that Harry was “educating” her for a “purpose”—to fulfill the ideal of the companionate mar riage. ” The passion and energy she experienced with Redmond lie dormant. Despite her vow to live again, Margaret quietly submits to a passionless relationship with Harry, and appears to the reader bored and lifeless. 25 A visit to her brother in New York City breaks “the monotony of [her] life” and reintroduces Redmond into her life.
Sometime that summer she made the acquaintance of Charles Washburne, the editor of the Daily Alta California, a San Francisco newspaper. 00 a month. Stoddard was thrilled. Revealing the depths of her bourgeois perceptions, she applauded herself as the first female wage-earner she had ever known, despite having grown up amidst female servants and having attended female academies. ” And, as she would remember late in life, it was here that she first learned how to write prose. 32 Two years into her run with the Daily Alta California, Stoddard recollected writing her first column.
Cass destabilizes his world, forcing him to wrestle with his beliefs. Like her heroine, Stoddard hoped to leave her contemporaries puzzled and doubtful, pushing them to confront the cultural construction of their own identities. 6 Many of Stoddard’s literary acquaintances, particularly those identified by later critics with the genteel tradition, were profoundly disturbed by both Stoddard and her fiction. Stoddard, a self-described “good hater” and vicious verbal combatant, frequently angered and even outraged her friends.