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Authorship, Appropriation, and the Creative Child, 1858-1920

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Authorship, Appropriation, and the Creative Child, 1858-1920 ARTFUL ARTLESSNESS: AUTHORSHIP, APPROPRIATION, AND THE CREATIVE CHILD, 1858-1920 Katherine L. Carlson A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department English and Comparative Literature. Chapel Hill 2011 Approved by: Dr. Laurie Langbauer Dr. Timothy Marr Dr. Eliza Richards Dr. Beverly Taylor Dr. Jane Thrailkill © 2011 Katherine L. Carlson ALL RIGHTS RESERVED ii ABSTRACT KATHERINE L. CARLSON: Artful Artlessness: Authorship, Appropriation, and The Creative Child, 1858-1920 (Under the direction of Dr. Laurie Langbauer) This project reassesses both extant definitions of authorship and Victorian reconstructions of the Romantic child by analyzing the tradition of published British children in the period 1858-1920. It suggests that current criticism largely overlooks the phenomenon that made juvenile writers like Marjory Fleming and Daisy Ashford household names because that phenomenon unsettles cherished twenty-first century definitions of intellectual property. Attempting to extend the rights of authorship to the misspelled and unrevised work of minor dependents forces the recognition that childhood and authorship embody an uneasy relationship between autonomy and socialization. Victorians, however, embraced child-authorship because it foregrounded this paradox, which allowed them at once to celebrate childhood creativity and to appropriate it for their own artistic ends. Additionally, this project builds on Catherine Robson’s claim that Victorian photography extended the bounds of adult-child collaboration already being explored in writing. Charles Lutwidge Dodgson’s images of children reveal complex attempts to afford sitters creative agency. In contrast, Julia Margaret Cameron’s photographs iii repeatedly efface the agency of child-sitters, despite the fact that they have not inspired the accusations of exploitation that are legion in Dodgson scholarship. Rudyard Kipling and Frances Hodgson Burnett reflect similar questions of childhood agency when they acknowledge that they “plagiarize” the identities of their biological offspring by inserting them in fiction. Complicating the traditional book-as- baby trope as well as the evolutionary theory of recapitulation, Kipling in particular cast children as both outcomes of genetic reproduction and active creative originators, a paradox reflecting the same mixed complicity and resistance to adult forms that characterizes Daisy Ashford, Marjory Fleming and juvenile photographers Frances Griffiths and Elsie Wright. Griffiths and Wright – the infamous Cottingley Fairy photographers – created illusions of empirical evidence to prove the existence of fairies to adults. Their widely successful hoax challenged the infallibility of adult constructions of objectivity and earned them subjectivities outside of totalized notions of childhood artlessness and fancy. While it too was ultimately appropriated by adults, Griffiths and Wright’s work joined that of Ashford and Fleming in subverting definitions of childhood which simultaneously objectify children, harvest their creativity, and marginalize them from grown-up modes of expression. iv ACKNOWLEDGEMENTS First, I don’t think I could have written this without such a nurturing director. Dr. Laurie Langbauer’s benevolent and insightful leadership is an immeasurable boon to my work as well as that of her other advisees – Anna Panszczyk, Hannah Bryant, Cheryl Thayer, Sarah Ficke, Sarah Shaw, and Sarah Cantrell. Thanks to all of you for your feedback in the sessions Dr. Langbauer organized. I likewise owe a debt of gratitude to the other members of my committee: Dr. Tim Marr, Dr. Eliza Richards, Dr. Jane Thrailkill, and Dr. Beverly Taylor. Thanks also to those who wrote me letters of recommendation: Dr. Thrailkill, Dr. Taylor, Dr. Langbauer, Dr. Elizabeth Chenault of the UNC Libraries, and Dr. Pamela Parker of Whitworth University. I could always count on Sarah Tolf for a raised eyebrow, a grin, and a “Well?” on the day of a self-imposed dissertation deadline. Along with Sarah, colleagues including Ashley Reed, Will Shaw, Sarah Shaw, and Kate Attkisson listened with bottomless patience and goodwill to my moments of writer’s angst. Actually, that particular note of thanks goes for everyone in these pages. I do not go gently into a good night of scheduled writing, but having them to talk to made it so much easier. More than anyone else, Erin Bartels Buller helped me make sense of our profession, and her comments improved countless drafts with the added benefit of often v making me laugh. She deserves sole credit anytime I properly place a colon or semi- colon outside of a quotation mark. Marc Cohen boosted my confidence and lifted my spirits, week after week. Does he realize how many people’s days he improves just by being around? Many other fellow graduate students provided support and friendship – so many that I must end this list having barely begun. I hope you know who you are. Thank you. Karen Neiswender, Kyle Brown and Mike and Courtney Przybowski frequently provided me an escape from academia and from incarceration in my own head. Thanks especially for listening to my broken records and for keeping me laughing for days after spending time together. Thanks also to many other friends, too numerous to name here, but all great blessings on this journey. They especially include Rebekah Carlson, April Szuch, Tara Schmidt, Marie Moeller, and Kimberly Burton. While it may be rather silly to formally thank a pet, Derby the house rabbit provided just the right amount of diversion and company to keep me going. There are two words of advice I would give to a graduate student. The first is to determine and respect the boundaries of your emotional and mental health. The other is to find a furry friend. When it comes to family – both biological and selected – I possess an embarrassment of riches. Thanks especially to the Annises, Olivers, and Nystroms for your love and support. My aunts and uncles David and Barbara Broberg and Carlos and Lisa Quintana always take an interest in what I am up to, arcane though it may be, and my grandparents, John and Dolores Broberg and Charles and Barbara Carlson, were simply the best a kid could have. We miss you every day, Grandpa C. My sister vi Elizabeth Carlson is a better writer than I am, and provides shining proof that there are in fact some interesting career options for English majors outside of academia. Finally, thank you to my parents for encouraging even my oddest interests, never doubting me, and for honoring the autonomy of both their children. You gave me all the best elements of a Romantic childhood, and you are, in the best sense, my muses. This is for you. vii TABLE OF CONTENTS LIST OF FIGURES………………………………………………………………...…..…x INTRODUCTION…………………………………………………………………….....11 Works Cited…………………………………………………………………...29 Chapter I. “SOME SORT OF MASTERPIECE”: MARJORY FLEMING, DAISY ASHFORD, AND THE CHALLENGE OF INTERPRETING CHILD-AUTHORS……………………………...……31 Marginal Marjory: How a Child-Author Stumps the Critics….......….……...25 Daisy Ashford: Accidental Genius or Littlest Satirist?....................................55 Works Cited………………………………………………………………...…78 II. BLURRED EXPOSURE: SUBJECTIVITY AND THE AGENCY OF THE CHILD-SITTER IN PHOTOGRAPHS BY CHARLES LUTWIDGE DODGSON AND JULIA MARGARET CAMERON……..………………………………….…….……82 Works Cited………………………………………………………….........…108 III. “PLAGIARIZED FROM LIFE”: LITTLE LORD FAUNTLEROY, INTELLECTUAL PROPERTY, AND FRANCES HODGSON BURNETT’S LITERARY APPROPRIATION OF HER CHILD………………………………....…….110 Works Cited……………………………………………………………….…133 IV. “THE DAUGHTER THAT WAS ALL TO HIM”: RECAPITULATION AND THE LEGACY OF THE CHILD IN KIPLING’S JUST SO STORIES………………………..…135 viii Works Cited………………………………………………………………….161 V. “FED UP WITH THE FAIRIES”: EMPIRICISM AND THE ROMANTIC CHILD IN THE PHOTOGRAPHY OF FRANCES GRIFFITHS AND ELSIE WRIGHT…………………….…164 Works Cited………………………………………………………………….190 ix LIST OF FIGURES Figure 1. The Whisper of the Muse, by Julia Margaret Cameron……………….....……83 2. Little Red Riding-Hood, by Charles Lutwidge Dodgson……………...……...85 3. The Beggar-Maid, by Charles Lutwidge Dodgson…………………...……....86 4. Photograph of Evelyn Hatch, by Charles Lutwidge Dodgson…….......……...87 5. On Duty, by Charles Lutwidge Dodgson…...………………………………...90 6. The Turtle Doves, by Julia Margaret Cameron……….……...……………….93 7. Photograph of Alice Liddell at 18, by Charles Lutwidge Dodgson…...……...96 8. Pomona, by Julia Margaret Cameron………………………………...……....97 9. Alethea, by Julia Margaret Cameron………………...……………………….98 10. Paul and Virginia, by Julia Margaret Cameron………...………………….105 11. The First Cottingley Fairy Photograph, by Frances Griffiths and Elsie Wright………………………………………………170 12. Illustration from Princess Mary’s Gift Book………..……………………..181 x INTRODUCTION Upon this planet there dwell two strange races of people. The first is a tribe small of stature and delicate of limb, the members of which make their way into civilized society one by one, arriving among us entirely unable to look after themselves and quite ignorant of our language. Were it not that we take pity on their helplessness, they would perish miserably – thousands, indeed, do so every year—but the majority are welcomed to our houses, fed and clothed by us, and after a little while, they learn our speech and something of our habits. Yet for the brief space of their existence—a matter of about a dozen
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