Before the Civil War, American writers such as Catharine Maria Sedgwick and Harriet Beecher Stowe had established authorship as a respectable profession for women. But though they had written some of the most popular and influential novels of the century, they accepted the taboo against female writers, regarding themselves as educators and businesswomen. During and after the Civil War, some women writers began to challenge this view, seeing themselves as artists writing for themselves and for posterity. Writing for Immortality studies the lives and works of four prominent members of the first generation of American women who strived for recognition as serious literary artists: Louisa May Alcott, Elizabeth Stuart Phelps, Elizabeth Stoddard, and Constance Fenimore Woolson. Combining literary criticism and cultural history, Anne E. Boyd examines how these authors negotiated the masculine connotation of "artist," imagining a space for themselves in the literary pantheon. Redrawing the boundaries between male and female literary spheres, and between American and British literary traditions, Boyd shows how these writers rejected the didacticism of the previous generation of women writers and instead drew their inspiration from the most prominent "literary" writers of their day: Emerson, James, Barrett Browning, and Eliot. Placing the works and experiences of Alcott, Phelps, Stoddard, and Woolson within contemporary discussions about "genius" and the "American artist," Boyd reaches a sobering conclusion. Although these women were encouraged by the democratic ideals implicit in such concepts, they were equally discouraged by lingering prejudices about their applicability to women.
Before the Civil War, American writers such as Catharine Maria Sedgwick and Harriet Beecher Stowe had established authorship as a respectable profession for women. But though they had written some of the most popular and influential novels of the century, they accepted the taboo against female writers, regarding themselves as educators and businesswomen. During and after the Civil War, some women writers began to challenge this view, seeing themselves as artists writing for themselves and for posterity. Writing for Immortality studies the lives and works of four prominent members of the first generation of American women who strived for recognition as serious literary artists: Louisa May Alcott, Elizabeth Stuart Phelps, Elizabeth Stoddard, and Constance Fenimore Woolson. Combining literary criticism and cultural history, Anne E. Boyd examines how these authors negotiated the masculine connotation of "artist," imagining a space for themselves in the literary pantheon. Redrawing the boundaries between male and female literary spheres, and between American and British literary traditions, Boyd shows how these writers rejected the didacticism of the previous generation of women writers and instead drew their inspiration from the most prominent "literary" writers of their day: Emerson, James, Barrett Browning, and Eliot. Placing the works and experiences of Alcott, Phelps, Stoddard, and Woolson within contemporary discussions about "genius" and the "American artist," Boyd reaches a sobering conclusion. Although these women were encouraged by the democratic ideals implicit in such concepts, they were equally discouraged by lingering prejudices about their applicability to women.
Biography at its best aims at resurrection. Anne Boyd Rioux has brought the novelist Constance Fenimore Woolson back to life for us. Hurrah!" —Robert D. Richardson, author of the Bancroft Prize–winning William James: In the Maelstrom of American Modernism Constance Fenimore Woolson (1840–1894), who contributed to Henry James’s conception of his heroine Isabelle Archer in The Portrait of a Lady, was one of the most accomplished American writers of the nineteenth century. Yet today the best-known (and most-misunderstood) facts of her life are her relationship with James and her probable suicide in Venice. This first full-length biography of Woolson provides a fuller picture that reaffirms her literary stature. Uncovering new sources, Anne Boyd Rioux evokes Woolson’s dramatic life. She was a grand-niece of James Fenimore Cooper and was born in New Hampshire, but her family’s ill fortunes drove them west to Cleveland. Raised to be a conventional woman, Woolson was nonetheless thrust by her father’s death into the role of breadwinner, and yet, as a writer, she reached for critical as much as monetary reward. Known for her powerfully realistic and empathetic portraits of post Civil–War American life, Woolson created compelling and subtle portrayals of the rural Midwest, Reconstruction-era South, and the formerly Spanish Florida, to which she traveled with her invalid mother. After her mother’s death, Woolson, with help from her sister, moved to Europe where expenses were lower, living mostly in England and Italy and spending several months in Egypt. While abroad, she wrote finely crafted foreign-set stories that presage Edith Wharton’s work of the next generation. In this rich biography, Rioux reveals an exceptionally gifted and committed artist who pursued and received serious recognition despite the difficulties faced by female authors of her day. Throughout, Rioux goes deep into Woolson’s character, her fight against depression, her sources for writing, and her intimate friendships, including with Henry James, painting an engrossing portrait of a woman and writer who deserves to be more widely known today.
Guide to the White House Staff is an insightful new work examining the evolution and current role of the White House staff. It provides a study of executive-legislative relations, organizational behavior, policy making, and White House–cabinet relations. The work also makes an important contribution to the study of public administration for researchers seeking to understand the inner workings of the White House. In eight thematically arranged chapters, Guide to the White House Staff: Reviews the early members of the White House staff and details the need, statutory authorization, and funding for staff expansion. Addresses the creation of the Executive Office of the President (EOP) and a formal White House staff in 1939. Explores the statutes, executive orders, and succession of reorganization plans that shaped and refined the EOP. Traces the evolution of White House staff from FDR to Obama and the specialization of staff across policy and political units. Explores how presidential transitions have operated since Eisenhower created the position of chief of staff. Explains the expansion of presidential in-house policymaking structures, beginning with national security and continuing with economic and domestic policy. Covers the exodus of staff and the roles remaining staff played during the second terms of presidents. Examines the post–White House careers of staff. Guide to the White House Staff also provides easily accessible biographies of key White House staff members who served the presidencies of Richard M. Nixon through George W. Bush. This valuable new reference will find a home in collections supporting research on the American presidency, public policy, and public administration.
“[An] affectionate and perceptive tribute.”—Wendy Smith, Boston Globe In Meg, Jo, Beth, Amy, Anne Boyd Rioux brings a fresh and engaging look at the circumstances leading Louisa May Alcott to write Little Women and why this beloved story of family and community ties set in the Civil War has resonated with audiences across time.
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