Anya Seton was the bestselling author of ten historical novels, including the masterpieces Katherine and The Winthrop Woman, which are still widely beloved over sixty years after their original publication. Yet there has never before been a book-length biography of this great American writer. Author Lucinda MacKethan, with the support of Seton's daughters and unprecedented access to the novelist's decades' worth of journals detailing her writing throughout her career, has crafted an intimate look at the writer in her own words. Ann Seton was born in 1904 the daughter of two celebrity writers: Ernest Thompson Seton, a renowned naturalist and illustrator, and Grace Gallatin Seton, a women's suffrage leader who received medals for her volunteer work in France during World War I. The pair's literary output gave them enduring fame, but as a teenager Ann explicitly rejected her parents' careers—because, she said, they showed her the drudgery of a writer's life. Still, she was always confident that she had inherited her parents' talent. At age thirty-six and self-renamed Anya, she placed her first novel with a major publisher. Anya the author was protective of her private life yet also mused, "I suppose I write myself over and over again in the heroines" of her books. She reinvented herself within carefully researched historical settings and biographical frameworks that provided both escape and wish fulfillment. Through Seton's own journal entries, letters, and self-analyses, MacKethan provides an intimate study of what it meant to her to be a writer. She details Seton's creative process, as well as the difficulties she faced balancing writing with the duties of homemaking and raising three children, and the gratitude or more often frustration she felt toward editors and reviewers. A compelling portrait emerges of a deeply dedicated writer whose life was full of inner turmoil, most of it self-inflicted.
Anya Seton was the bestselling author of ten historical novels, including the masterpieces Katherine and The Winthrop Woman, which are still widely beloved over sixty years after their original publication. Yet there has never before been a book-length biography of this great American writer. Author Lucinda MacKethan, with the support of Seton's daughters and unprecedented access to the novelist's decades' worth of journals detailing her writing throughout her career, has crafted an intimate look at the writer in her own words. Ann Seton was born in 1904 the daughter of two celebrity writers: Ernest Thompson Seton, a renowned naturalist and illustrator, and Grace Gallatin Seton, a women's suffrage leader who received medals for her volunteer work in France during World War I. The pair's literary output gave them enduring fame, but as a teenager Ann explicitly rejected her parents' careers—because, she said, they showed her the drudgery of a writer's life. Still, she was always confident that she had inherited her parents' talent. At age thirty-six and self-renamed Anya, she placed her first novel with a major publisher. Anya the author was protective of her private life yet also mused, "I suppose I write myself over and over again in the heroines" of her books. She reinvented herself within carefully researched historical settings and biographical frameworks that provided both escape and wish fulfillment. Through Seton's own journal entries, letters, and self-analyses, MacKethan provides an intimate study of what it meant to her to be a writer. She details Seton's creative process, as well as the difficulties she faced balancing writing with the duties of homemaking and raising three children, and the gratitude or more often frustration she felt toward editors and reviewers. A compelling portrait emerges of a deeply dedicated writer whose life was full of inner turmoil, most of it self-inflicted.
This is a well-organized, gracefully written account of a significant aspect of Southern fiction, and it contains information and incisive commentary that one can find nowhere else." --Thomas Daniel Young Many southern writers imagined the South as a qualified dream of Arcady. They retained the glow of the golden land as a device to expose or rebuke, to confront or escape the complexities of the actual times in which they lived. The Dream of Arcady examines the work of post-Civil War southern writers who criticize the myth of the South as pastoral paradise. Sooner or later in all their idealized worlds, the idyllic vision fades in an inescapable moment of awakening. This moment, which is central to MacKethan's study, produces an atmosphere pastoral in mood and implications. Her perspective analysis juxtaposes the responses of Sidney Lanier, Joel Chandler Harris, and Thomas Nelson Page, who contributed to yet hope to transcend sectionalism, with the ambivalent views of black writers Charles Chesnutt and Jean Toomer. Considering the writings of the Agrarians, William Faulkner, and Eudora Welty, MacKethan then concludes her study by questioning whether the Arcadian dream still serves the artist of our era as a frame for artistic and ideological purposes.
Drawing upon letters, autobiographies, and novels, Daughters of Time examines the strategies that various southern women writers have used to create their own "voice," their own unique expression of mind and selfhood. Lucinda H. MacKethan shows that, despite the constraining and muting effects of the South's historically patriarchal society, the region has been graced by the remarkably strong presence of women storytellers, black and white, who have asserted their determination to become themselves through creative acts of voicing. Within a chronological structure, MacKethan examines the letters of the plantation mistress Catherine Hammond; the memoir Incidents in the Life of a Slave Girl by Harriet Jacobs; the autobiographical writings of Ellen Glasgow, Zora Neale Hurston, and Eudora Welty, as well as their novels Barren Ground, Their Eyes Were Watching God, and The Optimist's Daughter; and finally, Alice Walker's The Co
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