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Voice from the Borderland, Rebecca Harding Davis and the Southern INFORMATION TO USERS This manuscript has been reprduced fmn the rnîrofilm master. UMI films the text didyfrom the original or copy submitteû. Thus, some thesis and dissertation copies are in typewriter face, while mers may be frorn any type of cornputer printer. The quality of this reproduction is &pendent upon the qwli of the copy submitted. Broken or indistinct print, cdored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignrnent can adversely affed reproduction. In the unlikely event that the author âii not send UMI a complete manusuipt and there are missing pages, these will be noted. Also, if unauthorired copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, dtawings, charts) are reproduced by sectiming the original, beginning at the upper left-Md corner and continuhg from left to right in equal sections with small overlaps. Photographs inciuded in the original manuscript have been reproduœd xerographically in this copy. Higher quality 6" x 9" bbck and white photographic prints are available for any photographs or illustrations appearing in this copy for an addiional charge. Contact UMI diteotly to wder. Be11 & H~llInformation and Leaming 300 North Zeeô Road, Ann Amr, MI 481ûS1346 USA 800-521-0600 VOICE FROM THE BORDERLAND: REBECCA HARDING DAVIS AND THE SOUTHERN ROOTS OF AMERICAN SOCIAL PROTEST FICTION Dawn Elayne Henwood A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto OCopyright by Dawn Elayne Henwood 1998 National Library Bibliothéque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington OttawaON K1AON4 OrtawaON K1A ûN4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Libre of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. For Ken. Only he knows dl the rasons why. Voice from the Borderland: Rebecca Harding Davis and the Southern Roots of American Social Protest Fiction by Dawn EIayne Henwood Graduate Department of English University of Toronto Doctor of Philosophy, 1998 Rebecca Harding Davis's radical voice of social protest emerges out of her roots in the lirninal culture of antebellum western Virginia. in her hometown of Wheeling. Davis grew up positioned where East met West. where North met South, and where the slaveholders' mythology of pastoral paternalism met the rising forces of industriai capitalism. Reared north of the Mason-Dixon line but in a slaveholding society, Davis always chenshed her Virginian background and preserved a fond nostalgia for the Southern way of tife. An important part of Davis's borderland cultural heritage was the rhetoric used to defend slavery, in both fiction and nonfiction. The tradition of the plantation novel and depictions of white 'wage slaves" in responses to Linde Tom 's Cabin suggest a link between Southem literary tradition and Davis's innovative social realism. Davis's dualistic cultural vantage point led her to challenge readers' easy assurnptions about slavery. industridism. and Arnerican myth-making. Her disposition for provoking her audience into multiple-angle vision shows up especially strongly in her early, extremely socially-conscious work. "Life in the Iron Mills" and Margref Howth both invoke the rhetoric of wage slavery to present industrial povew as an overlooked social injustice threatening the very roots of Arnerican identity. Davis's other early stories in the Atlantic Monthly ais0 manipulate stereotypical Northem and Southem views of slavery to demonstrate the weak spots in both. As mystery fiction fiom the 1860s and later children's stories demonstrate, the slavery controversy was, for Davis, never a clear- cut issue. In Waitingfor rhe Verdict, she enacts her life-long tendency to see things fiom both sides of the North-South border. As a result, Davis's post-bellum miscegenation plot proves to be as much about recuperating ex-slaveholders as ex-slaves. Davis's first-hand undestanding of and strong attraction to Southem culture makes her a more complex author than has been previously recognized as well as a significant bridge figure between the literature of the Old South and mainstrearn tradition. Acknowledgements Davis and other nineteenth-century American women writers constantly remind me that the realms of the domestic and the political, the public and the private, are never discrete; the personal is inevitably inseparable fiom the professionai. Throughout the writing and research of this thesis, 1 have been fortunate to find myself supported both professionally and personally by a number of generous individuals. I am grateN for Banie Hayne's patient guidance and encouragement, for Demis Duffy's catalytic enthusiasm, and for Elaine Ostry's open ear ,as well as her practical assistance in procuring copies of Davis materiais. 1 am deeply thankfiil, as always, for Ken Nauss's sustaining companionship dong every step of the journey. Like al1 recent Davis critics, 1 follow in the large fwtsteps of those who have gone before. especially Sharon Harris, Jean Pfaelzer, and Jane Atteridge Rose, whose pioneer scholarship has made my work possible. 1 am particularfy indebted to Jean Pfaelzer for encouraging me to pursue Davis's Wheeling roots and to Jane Rose for lending me unpublished matenal. Several librarians were particuiarly helpful in my search for obscure resources, especially Jane Lynch of the University of Toronto's Inter-Library Loan Oflice, Kelly Bringman of the Ohio County Public Library in Wheeling, West Virginia, and Annewhite Fuller of the Huntington Public Library in Alabama. The following institutions graciously made available to me unpublished correspondence and manuscripts of Rebecca Harding Davis: Beinecke Library, Yale University; Boston Public Library; Bi-igham Young University; Columbia University; Connecticut Historical Society; Duke University; Folger Library; Hougbton Library, Harvard University; Huntington Library, San Marino, California; New York Public Library; Pierpont Morgan Library, New York, New York; Princeton University; University of Iowa; University of Virginia; West Virginia and Regional History Collection, West Virginia University. Funding was provided by an Ontario Graduate Scholarship, a SSHRC Doctoral Fellowship, and a grant fiom the Associates of the University of Toronto Travel Grant Fund. Table of Contents Preface ................................................................ 2 Chapter One Life in the Borderland ................................................... .7 Chapter Two On the Border of a Vuginia Tradition: The Heritage of Proslavery ThoughtandFiction ..................................................... 55 Chapter Three Shifting Borders and Subversive Tactics: Convention and Controversy in "Life in the kon Mills" and Margret Howth ..................... .99 Chapter Four Borderline Allegiances: Davis on Abolitionists, Slaveholders, andslavery........................................................... 155 Chapter Five Borderiine Nostalgia: Portraits of the Old South in Davis's Mystery Stones and Children's Fiction ..................................... 195 Chapter Six Border-dwellers as Bastards: Ulegitimacy and the Romance of Family Reunion in "The Promise of the Dawn" and Waiting for the Verdict ................................................. -226 Epilogue Looking Across Farther Borders ......................................... -281 1 have always had a perverse inclination to the other side of the question, especially if there was Iittie to be said for it. One hates to be smothered even under truth. What if al1 the world, as well as our senses, Say that the shield is silver? One wants the more to creep round to that solitary, dark corner yonder. and look out of the eyes of the one poor ghost who says that it is gold. -Re becca Harding Davis, "Men's Rights," Putnam S Magazine, Febniary 1869 Preface in "The Saar Secret," one of the lutid mystery stories she wrote for Peterson S Maguzine as bread-and-butter work during the 1WOs,' Rebecca Harding Davis describes a half-savage, half-civilized society existing on the edge of the Appalachian fiontier in the first quarter of the nineteenth century. As an "htroduction" to her gothic mountain setting and melodramatic plot, she comments: Curious traces, indeed aiinost dl that we possess, rernain in these records, in the western part of virginia and Kentucky], of the condition of society, in the border, afier the first savage conflict with the indian and the wildemess was over, and before the finer manners and tastes of a higher civilization began to gain their sofier way. The social intercourse of those days was a strange cross of the rough
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