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For a Boston Marriage: Sarah Orne Jewett's Illustrated Deephaven

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For a Boston Marriage: Sarah Orne Jewett's Illustrated Deephaven “Bedtime” for a Boston Marriage: Sarah Orne Jewett’s Illustrated Deephaven adam sonstegard Downloaded from http://direct.mit.edu/tneq/article-pdf/92/1/75/1793769/tneq_a_00721.pdf by guest on 01 October 2021 ARAH ORNE JEWETT first published Deephaven in 1877, S but an illustrated edition that appeared in 1893 with a text with complex, new contributions to the meaning of the work.1 Houghton Mifflin included visual art by Charles H. Woodbury and Marcia Oakes Woodbury. Among the fifty-five visual ad- ditions to Jewett’s novel of coastal Maine, an image captioned “Bedtime” adorns one story (Fig. 1). Nocturnal and shadowy, the image incorporates curved bannisters and arched windows and depicts Deephaven’s heroines, Helen Denis and Kate Lan- caster, climbing stairs toward upper-story chambers, exchang- ing conspiratorial glances across a solemn clock face. Merely putting a story about fisherman’s yarns to bed, as it were, and leaving something gleaming in the ladies’ eyes, the picture portends something other than slumber. The image appeared decades ahead of the first work scholars have identified asa This project has been made possible by a Faculty Scholarship Initiative at Cleve- land State University, Cleveland, Ohio. Sincerest thanks to Jeff Karem, Brooke Conti, Heather Russell, Jackie LaPlante, Peter Woodbury, Wendy Pirsig, Terry Heller, Holly Jackson, and the anonymous reader reviewers of New England Quarterly. 1Jewett first published short fictions in several magazines, many of which illustrated them, and many of which are reproduced with those illustrations in The Irish Stories of Sarah Orne Jewett, ed. Jack Morgan and Louis A. Renza (Carbondale: Southern Illinois University Press, 1996). Emma Coleman prepared photographs for an illustrated edi- tion of Deephaven in 1885; and the Woodburys’ graphically illustrated edition appeared in 1893. All images in this article reproduced from Old Berwick Historical Society edi- tion, Peter E. Randall Publisher, South Berwick, ME, 1993 with the permission of the Old Berwick Historical Society. The New England Quarterly, vol. XCII, no. 1 (March 2019). C 2019 by The New England Quar- terly. All rights reserved. https://doi.org/10.1162/tneq_a_00721. 75 76 THE NEW ENGLAND QUARTERLY Downloaded from http://direct.mit.edu/tneq/article-pdf/92/1/75/1793769/tneq_a_00721.pdf by guest on 01 October 2021 Fig. 1.—All images are reprinted with the permission of the Old Berwick Historical Society. graphic novel.2 The illustrated edition antedates what others have called the advent of modern-day, same-sex identities, such as lesbianism. This image suggests, well ahead of these phe- nomena, that we read a lesbian subtext—if not in the quiet “bedtimes,” as the prose passages intimately describe them, then in the interaction between the images and the prose that the illustrated edition provides. The artists, Charles and Marcia Oakes Woodbury, were mar- ried while the author of the illustrated edition, Jewett, shared a relationship with Annie Adams Fields in what many have called a Boston Marriage. Such unions featured women like Jewett and Fields changing the names in real-life anecdotes 2“Firsts” in literary and graphic-arts history often remain contested in defining emerging demographic groups, as well as developing literary genres. For purposes of comparison, Gertrude Stein’s Three Lives (1909), Woolf’s Orlando (1928), Radclyffe Hall’s The Well of Loneliness (1928), and Djuna Barnes’s Nightwood (1936) institute the genre of the lesbian novel. SARAH ORNE JEWETT 77 to rewrite them as romans a clef for small coteries of readers and having passionate friendships without apprehending their all-female romances as anything out of the ordinary. “Roman- tic and even passionate expressions between women were well within the bounds of nineteenth-century propriety,” Jewett’s bi- ographer comments, as she claims, “neither of the two women nor anyone in their circle saw anything deviant in their relation- Downloaded from http://direct.mit.edu/tneq/article-pdf/92/1/75/1793769/tneq_a_00721.pdf by guest on 01 October 2021 ship.”3 They also, though, I wish to argue, manifested a need to keep up appearances. For one thing, Jewett first met Fields through her husband James, and his prominence in the publish- ing world, and the accumulated wealth of the Fields, supported his widow in her Boston Marriage, long after his death. An early edition of Jewett’s letters, for another thing, expurgated expressions of affection between women, perhaps because they would otherwise be too scandalous to be read. Jewett advised Willa Cather that lending her characters heterosexual disguises threatened to inhibit Cather’s fictions.4 Deephaven, Judith Fet- terley speculates, “may have facilitated Jewett’s life choice by allowing her first to imagine it in fiction.”5 If Jewett and Fields lived openly in a Boston Marriage without the sense that it was extraordinary, Jewett still treated it in her fiction and correspon- dence with veils and subterfuge—as if to hint at her affections in life but to keep them reserved from her published, perma- nent works of fiction and her professional reputation. An illus- trated fiction like Deephaven is, then, a rare historical artifact, which not only propels our speculations but allows readers to visualize a veiled nineteenth-century Boston Marriage. The graphic artists’ romance, for its part, sparked when Mar- cia Oakes was Charles Woodbury’s pupil, one of many students drawn by his reputation for landscapes and seascapes driven 3Rita Gollin, Annie Adams Fields: Woman of Letters (Amherst: University of Mas- sachusetts Press, 2002), 223. 4Melissa J. Homestead has offered a revisionist perspective on Jewett’s “expurgated” letters and her influence in “Willa Cather, Sarah Orne Jewett, and the Historiography of Lesbian Sexuality,” Cather Studies 10 (2015). 5Judith Fetterley, “Reading Deephaven as a Lesbian Text,” Sexual Practice, Textual Theory: Lesbian Cultural Criticism, ed. Susan J Wolfe and Julia Penelope (Cambridge, MA: Blackwell; 1993), 165. 78 THE NEW ENGLAND QUARTERLY by his mantra, “paint in verbs, not nouns.” She became his wife in 1890. His fame began with collaborative projects like Deephaven, but her personal relationship with Jewett, rooted in their shared hometown, South Berwick, Maine, helped get the Woodburys the illustration project for Deephaven and The Tory Lover (1901). An early researcher into rare-book editions, Babette Ann Boleman, determined that the Woodburys, as Downloaded from http://direct.mit.edu/tneq/article-pdf/92/1/75/1793769/tneq_a_00721.pdf by guest on 01 October 2021 Jewett’s “intimate friends,” offered “the most amicable collabo- ration” possible.6 Boleman determines that Jewett left sugges- tions in a copy of Deephaven—including, for example, “Perhaps here the turn of our stairway at night with the clock—pointing to a very late hour!”7 Peter Woodbury, the artists’ grandson, tells me that “Marcia Oakes Woodbury and Jewett—probably in company with Charles Woodbury—sat down and decided what the illustrations should be and where to put them. Marcia penciled the notes into her copy, and after further meetings, the artists went to work. As the project unfolded,” Woodbury concludes, Jewett “wrote notes in her own copy of the book.”8 The Woodburys stayed in Marcia’s family home (not Charles’s) while they rendered the pictures. Jewett addressed her notes not to Charles, but to “Susan,” Marcia’s nickname, when suggesting locations and inhabitants they might sketch for the book.9 Rooms and corridors in Jewett’s father’s home became interior settings, and South Berwick cousins and grand- parents served as models. The Woodburys’ pictures constitute some of the late nineteenth-century’s most authorized literary imagery. They reflect both the Boston Marriage of the author and her intimate companion and the artists’ heterosexual mar- riage bond—especially that of “Susan” and her intimate under- standing of Jewett. For the 1893 edition, Jewett added a new preface, leaving the prose stories unaltered. She authorized the Woodburys’ 6Babette Ann Boleman, “Deephaven and the Woodburys,” Colophon New Graphic Series 3 (1939): n.p. 7Boleman, “Deephaven and the Woodburys.” 8Peter Woodbury, “re: Woodbury/Jewett inquiry,” email to Adam Sonstegard. Au- gust 12, 2018. 9Boleman, “Deephaven and the Woodburys.” SARAH ORNE JEWETT 79 illustrations via handwritten suggestions, revisiting and adding visual dimensions to Deephaven as a reflection of one of her earlier same-sex relationships. Fields in turn used some of her influence in publishing to help her companion to reissue the volume—even though, when Deephaven had first appeared in 1877, Fields had still been married to her publisher husband James. The illustrated Deephaven involves multiple interper- Downloaded from http://direct.mit.edu/tneq/article-pdf/92/1/75/1793769/tneq_a_00721.pdf by guest on 01 October 2021 sonal perspectives: visualizing Jewett’s past relationship in light of her current partnership with Fields, reissuing a book first published during Fields’s marriage to Jewett’s publisher, and engaging the Woodburys’ artistry and integrity in their depic- tions of fictional heroines resembling Jewett and Fields, in turn. It exhibits a queer point of view to the degree that this com- mercial venture and contemporary mores allowed, and as far as a sympathetic, heterosexual couple of fellow artists were able. It crosses, and enables readers to cross, lines between queer and mainstream, between the visual and verbal, and between artists
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