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The Hand That Rocks the Crime Fiction Cradle: British, American, and Australian Women’s Criminographic Narratives, 1860-1880 Kate Watson BA Hons. (Cardiff University), MA (Cardiff University), Ph.D (Cardiff University) Cardiff University May 2010 UMI Number: U584634 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584634 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 1 Summary ‘The hand that rocks the cradle’ is a phrase indicative of motherhood, the world, and change. When applied to women’s criminographic narratives, it can be read in terms of a challenge to the hegemonic belief in male writers as the founding ‘fathers’ of the crime and detective genre. This study will examine women’s criminous narratives in Britain, North America, and Australia from 1860-1880, with the purpose of bringing to light women writers who have hitherto—and for the majority—been excluded from what has been seen as the masculine crime canon. Men have long been expounded in critical work on crime and detective fiction and women writers have frequently been eclipsed by male authors such as Edgar Allan Poe, Wilkie Collins, Charles Dickens, and Arthur Conan Doyle. I seek to redress this masculine-centric view of the genre and its development: I aim to show that contrary to this viewpoint, women were both present from the start and were significantly contributing towards the formation of the crime and detective genre as we now know it. The period chosen has recurrently been perceived as an interstitial space, though I contend that this epoch, rather than representing vacuity, is central to the formation of the crime and detective form: while the genre was still nascent, the melange of sub genres in this period saw the establishment of the foundations for what was to follow. Authors considered from Britain include Catherine Crowe, Caroline Clive, Elizabeth Cleghom Gaskell, Mary Elizabeth Braddon, and Mrs Henry (Ellen) Wood. From North America, I discuss Harriet Prescott Spofford, Louisa May Alcott, Metta Victoria Fuller Victor, and Anna Katharine Green, and from Australia, the writing of Celeste de Chabrillan, ‘Oline Keese’ (Caroline Woolmer Leakey), Eliza Winstanley, Ellen Davitt, and Mary Helena Fortune. This thesis inspects these women’s work in terms of that of their male contemporaries and of their national/historical and societal background. The importance of their crime writing demonstrates the need for a feminine reconstruction of the canon of crime/detective fiction. 2 Acknowledgements Thanks and gratitude primarily go to my thesis supervisors: Doctor Heather Worthington and Professor Stephen Knight. In Australia, to Doctor Lucy Sussex (the University of Melbourne) for help with research queries, and to Doctor Bronwen Levy (the University of Queensland) for assistance with the Bicentennial Scholarship. To Professor John Sutherland and Sarah Waters for email enquiries; to Grant L. Stone (Scholarly Resources Librarian, Murdoch University), Jillian P. Brown (Audio Visual Department, Fisher Library, University of Sydney), the staff at gleebooks (Glebe, Sydney), and the staff at Serendipity Books (West Leederville, Perth). And to the team and collections at Cardiff University Arts and Social Studies Library (and special collections and archives), the British Library, Senate House Library, the Menzies Centre (King’s College, London), the National Library of Australia (Canberra), the University of Western Australia, the UWA Crime Resource Centre, the J. S. Battye Library of West Australian History (Perth), the State Library of Australia, Murdoch University, Sydney University, the State Library of New South Wales, the State Library of Victoria, the University of Melbourne (Baillieu Library), Monash University, La Trobe University, and, in America, the UCLA Michael Sadleir Collection and Charles E. Young Research Library. Acknowledgments must go to the Arts and Humanities Research Council for my doctoral funding and additional funding for my American research trip, without which this thesis may not have been possible. I also acknowledge the Menzies Centre (King’s College London) for the Australian Bicentennial Scholarship. Thanks to all of those important people in my life that have both put up with and supported me unconditionally while writing and wrestling with ‘Mr/s. T’: Mia and Pete: for love, flights, laughter, flowers, and bacon and egg muffins. Papa and Shirley: for the endless coffee, advice, the many varieties of cider, and having me back while I finished up. Those people always on the other line: Nan for msn support, Zola for phone support, and to Carrie and Sol for the daily chats and distractions. To Fran: for the mashed potato, love, co-wanderings, and continual belief and support. To the brilliant bunch of friends who I am lucky to have - for the laughter, interest, emails, phone calls, caffeine, kind words and hugs. 3 Table of Contents Introduction: The Hand That Rocks the Crime Fiction Cradle ...........................................4 Chapter One: Britain ..................................................................................................................22 Catherine Crowe (1790-1872) ..................................................................................................... 32 Caroline Clive (1801-1873) ..........................................................................................................34 Elizabeth Cleghom Gaskell (1801-1865) ................................................................................... 58 Mary Elizabeth Braddon (1835-1915) .........................................................................................67 Mrs Henry (Ellen) Wood (1814-1887) ........................................................................................98 Colonial Connections ..................................................................................................................107 Chapter Two: (North) America...............................................................................................115 Harriet Prescott Spofford (1835-1921) ...................................................................................... 134 Louisa May Alcott (1832-1888) .................................................................................................144 Metta Victoria Fuller Victor (1831-1885) ................................................................................. 166 Anna Katharine Green (1846-1935) ...........................................................................................191 Chapter Three: Australia .........................................................................................................214 Celeste de Chabrillan (1824-1909).............................................................................................245 Caroline Woolmer Leakey (‘Oline Keese’) (1827-1881) .......................................................248 Eliza Winstanley (1818-1882) ....................................................................................................253 Ellen Davitt (c. 1812-1879) ........................................................................................................255 Mary Helena Fortune (c. 1833- c. 1909/10) ............................................................................. 276 Conclusion .................................................................................................................................305 Bibliography...............................................................................................................................307 4 Introduction: The Hand That Rocks the Crime Fiction Cradle ‘The hand that rocks the cradle is the hand that rules the world.’ (William Ross Wallace, ‘What Rules The World’, 1865) ‘The hand that rocks the cradle’ is an often-quoted saying from the poem ‘What Rules the World’, by the American poet, William Ross Wallace. It draws attention to the pre-eminence of motherhood and its attendant force within the world. This saying is appropriate to describe women’s contributions to the crime fiction genre and the metaphorical crime fiction ‘cradle’ (with its retrospective concentration on the forefathers and foremothers of the form). This feminine hand, however, was not singular; there were many female hands holding writing implements in crime and detective fiction’s infancy and formative years. Men have long been perceived as the progenitors of this form, but what this thesis seeks to illustrate is that women were present in criminous discourse from the beginning. In addition to this, women were significantly adding to the corpus of crime and detective fiction as we now know it and are thus an essential (but often neglected) part of this construction. While this feminine exclusion indicates a limited outlook which, to some extent, has still been upheld, crime fiction was also synchronic and appeared in many countries. Though the general and critical focus in and of crime and detective
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