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Beware the Women: the Depiction of Anglo-American Female Pirates in Popular Culture, 1721-1995

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Beware the Women: the Depiction of Anglo-American Female Pirates in Popular Culture, 1721-1995 Beware the Women: The Depiction of Anglo-American Female Pirates in Popular Culture, 1721-1995 by Sarah K. Toye Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2017 © Copyright by Sarah K. Toye, 2017 For Anne Bonny and Mary Read, who have come to feel like friends. I can only hope they would be amused to know that they have become twenty-first-century feminist icons and subjects of academic study. Stay wild. ii Table of Contents List of Figures…………………………………………………………………………….iv Abstract…………..………………………………………………………………………..v Acknowledgements..……………………………………………………………………...vi Chapter One Introduction……………………………………………………………………..…1 Chapter Two The Eighteenth Century: Heroines and Harlots…………………………….........12 Chapter Three The Nineteenth Century: Romanticism and American Identity…………………73 Chapter Four The Twentieth Century: Hollywood and Feminism....…………………………124 Chapter Five Conclusion………………………………………………………………….......173 Bibliography……………………………………………………………………………179 Appendix: Anne Bonny and Mary Read‘s chapters from A General History of the Pyrates…………………………………………………………………………...186 iii List of Figures Figure 1.1: Sisters of the Sea by Erik Christianson, 2010………………………………...2 Figure 1.2: A conversation on the website tumblr about Erik Christianson‘s Sisters of the Sea…………………………………………………………………………..3 Figure 2.1: Anne Bonny and Mary Read in A General History of the Pyrates………….56 Figure 2.2: Anne Bonny and Mary Read in De Historie der Englesche Zee-Roovers…..56 Figure 2.3: Frontispiece of De Historie der Englesche Zee-Roovers……………………57 Figure 3.1: Liberté guidant le peuple by Eugène Delacroix……………………….…...109 Figure 3.2: ―Mary Kills her Antagonist‖ in Pirates Own Book………………………...109 Figure 3.3: Frontispiece of Fanny Campbell, the Female Pirate Captain; A Tale of the Revolution………………………………………………………………………..110 Figure 3.4: Mary Read in Histoire des Pirates et corsaires de l’océan et de méditerranée depuis leur origine jusqu’a nos jours……………………………………110 Figure 3.5: ―Ella Brayton, the Pirate Queen‖ in The Pirate Queen; or, the Magician of the Sea, A Tale of the Piratical Era………………………………………………….111 Figure 4.1: Cover of Mary Read, Pirate Wench………………………………………..150 Figure 4.2: Anne Bonny in The Spanish Main…………………………………………150 Figure 4.3: Anne Providence in Anne of the Indies…………………………………….151 Figure 4.4: Spitfire Stevens in Against All Flags………………………………………151 Figure 4.5: Morgan Adams in Cutthroat Island………………………………………..152 iv Abstract Anne Bonny and Mary Read were female pirates who were active in the early- eighteenth century in the Caribbean during the Golden Age of Piracy. Little is known of the two women other than what was recounted in Charles Johnson‘s 1724 A General History of the Pyrates. However, Anne and Mary have rarely left Western cultural consciousness since their final fates in 1721. As seafarers they were outsiders to mainstream culture, as pirates they were outsiders to sailors and then even more so as women. This thesis explores the many different ways in which these two women, in an entirely unique position as being outsiders thricefold, have been depicted in popular culture. I use the mechanisms of the heroine/harlot dichotomy, the process of mythologisation and visual portrayals to demonstrate how their depictions reflected and challenged contemporary ideas regarding gender, sexuality and morality, and how those ideas evolved over the centuries. v Acknowledgements Thank you: Mom, Dad, Jerry, Val, Tina, Bridget, Maria, Roger, Mona, family, friends, colleagues. vi Chapter One Introduction Anne Bonny and Mary Read are two of the most famous female pirates in western history. Many people would very likely recognise their names, and even those who did not would be familiar with their image. In recent years female pirates have been represented most notably in the Pirates of the Caribbean franchise, the STARZ television series Black Sails, the video game Assassin’s Creed: Black Flag and countless podcasts and websites. Anne and Mary, and female pirates in general, have become go-to representations of feminist and queer resistance. This is especially true of the treatment of Anne and Mary on the internet on websites such as tumblr, which is known to be a breeding ground of social activism and commentary. It was a conversation on tumblr about Anne and Mary that first piqued my interest in how eighteenth-century female pirates are treated in modern media, and I became curious about how that modern perception came into existence. The conversation on tumblr was about a sculpture of Anne and Mary by Erik Christianson (figure 1.1) in which Anne‘s breast is revealed. The following comments (figure 1.2) were primarily a discussion around their sexualisation, and in the substantial final comment a user recounted a part-myth-part-fact version of Anne and Mary‘s lives. This struck me: where did this person hear this story? What are the origins of the less-than-accurate points? Why are Anne and Mary so meaningful to them? It was this moment that inspired me to trace the cultural history of the depiction of female pirates in popular culture so I could learn from where these myths around their narratives first appeared, and how they became so politicized in feminist and queer communities. 1 This idea of Anne and Mary (and female pirates in general) as feminists is something that can be seen throughout twenty-first pirate fiction. In Black Sails Anne Bonny is bisexual and polyamorous, embodying the idea of piracy as the ultimate freedom from social oppression. As it turns out, that idea is one that reaches as far back as the Golden Age of piracy itself in the eighteenth century, though it manifested itself in many different ways. This is the evolution that I am exploring in this thesis: how Anne and Mary‘s stories, from 1721 to 1995, have grown and changed. Figure 1.1: Sisters of the Sea by Erik Christianson, 2010. 2 Figure 1.2: A conversation on the website tumblr about Erik Christianson‟s Sisters of the Sea Over the years Anne and Mary again and again provided answers to questions around gender, sexuality and morality. Every time their stories were retold they changed slightly, and it is those changes that betray contemporary beliefs around gender and morality. The core of the stories remains the same, but in the scores of times they have been told over the centuries there have been additions and alterations that resulted in the tumblr conversation I discussed above (figure 1.2). These differences primarily reveal themselves through the recurring mechanisms of the heroine/harlot dichotomy, the 3 process of mythologization and visual representation. The heroine/harlot dichotomy is the device I use to analyze the ways in which sources differentiate between Anne and Mary‘s morality based on their sexual behaviour. Consistently, right up to the twenty-first century, Mary is depicted as the heroine figure and Anne as the harlot; more often than not, they are depicted together. Even when one is represented without the other the role of heroine or harlot remains, as it does for the fictional female pirates who, though they may not carry the name Anne or Mary, still fall within their cultural legacy. What does change, however, is the favouritism that sources show towards either the heroine or harlot character. In the eighteenth, nineteenth and the first half of the twentieth centuries there is a definite preference and sympathy for the heroine/Mary figure, though in the second half of the twentieth century that changes drastically. A notable trend in the depiction of Anne and Mary is that female pirates were consistently portrayed visually in addition to textually – be it by illustration or by thespian. Both the heroine/harlot dichotomy and the many visual depictions contribute to Anne and Mary‘s immediate and continuing mythologization. The sources in this chapter are both the origins and results of this mythologization process, beginning mere years after their trial. While Anne and Mary have been familiar figures in popular culture since 1721, it is only in recent years that they became a topic of academic study. Since the rise of pirate scholarship at the end of the nineteenth century ‗big name‘ pirates like Edward ―Blackbeard‖ Teach, Henry Avery and William Kidd and the North African Barbary Corsairs had been the focus more often than any female pirates. However, with the rise of feminist, gender and cultural histories in the last few decades of the twentieth century female pirates have become of interest to historians. This was partially due to a number of influential texts that complicated the idea of gender at sea, including Iron Men, Wooden 4 Women: Gender and Seafaring in the Atlantic World, 1700-1920, a compilation of essays that explored the oft-neglected role of gender in maritime culture and history edited by Margaret S. Creighton and Lisa Norling. Other significant texts on this topic are Women Sailors and Sailor’s Women: An Untold Maritime History by David Cordingly, Women and English Piracy, 1540-1720 by John C. Appleby, Women at Sea: Travel Writing and the Margins of Caribbean Discourse edited by Lizabeth Paravisini-Gebert and Ivette Romero-Cesareo and Hans Turley‘s Rum, Sodomy, and the Lash: Piracy, Sexuality and Masculine Identity. Anne Bonny and Mary Read specifically are often mentioned in texts that deal with gender and eighteenth century seafaring, being the only two known female pirates from that era. They are also usually included in any text about crossdressing soldiers, sailors and/or criminals, notably Bold in Her Breeches: Women Pirates Across the Ages by Jo Stanley, Women Pirates and the Politics of the Jolly Roger by Ulrike Klausmann, Marion Meinzerin and Gabriel Kuhn, Linda Grant De Pauw‘s Seafaring Women, She Captains: Heroines and Hellions of the Sea by Joan Druett, Amazons and Military Maids: Women who Dressed as Men in the Pursuit of Life, Liberty and Happiness by Julie Wheelwright and The Tradition of Transvestism in Early Modern Europe by Rudolf Dekker and Lotte Van De Pol.
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