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Heaven's Interpreters HEAVEN’S INTERPRETERS HEAVEN’S INTERPRETERS WOMEN WRITERS AND RELIGIOUS AGENCY IN NINETEENTH- CENTURY AMER I CA Ashley Reed CORNELL UNIVERSITY PRESS Ithaca and London Copyright © 2020 by Cornell University Publication of this open monograph was the result of Virginia Tech’s participation in TOME ( Toward an Open Monograph Ecosystem), a collaboration of the Associa- tion of American Universities, the Association of University Presses, and the Association of Research Libraries. TOME aims to expand the reach of long- form humanities and social science scholarship including digital scholarship. Additionally, the program looks to ensure the sustainability of university press monograph publishing by supporting the highest quality scholarship and promoting a new ecol ogy of scholarly publishing in which authors’ institutions bear the publication costs. Funding from Virginia Tech made it pos si ble to open this publication to the world. www . openmonographs . org The text of this book is licensed under a Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License: https:// creativecommons . org / licenses / by - nc - nd / 4 . 0 / . To use this book, or parts of this book, in any way not covered by the license, please contact Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. Visit our website at cornellpress . cornell . edu. First published 2020 by Cornell University Press Library of Congress Cataloging- in- Publication Data Names: Reed, Ashley, 1975– author. Title: Heaven’s interpreters : women writers and religious agency in nineteenth- century Amer i ca / Ashley Reed. Description: Ithaca [New York] : Cornell University Press, 2020. | Includes bibliographical references and index. Identifiers: LCCN 2019051194 (print) | LCCN 2019051195 (ebook) | ISBN 9781501751363 (paperback) | ISBN 9781501751387 (pdf ) | ISBN 9781501751370 (epub) Subjects: LCSH: American fiction— Women authors— History and criticism. | American fiction— 19th century— History and criticism. | Religion and lit er a ture— United States— History—19th century. | Women and lit er a ture— United States— History— 19th century. | Women and religion— United States— History—19th century. | Fiction— Religious aspects. | United States— Religion—19th century. Classification: CCL PS147 .R44 2020 (print) | LCC PS147 (ebook) | DDC 813/.3099287— dc23 LC rec ord available at https:// lccn . loc . gov / 2019051194 LC ebook rec ord available at https:// lccn . loc . gov / 2019051195 Cover illustration: The Contemplator by Eugène Carrière, 1901. Courtesy of the Cleveland Museum of Art Contents Acknowl edgments vii Introduction: Writing Women’s Religious Agency in Nineteenth- Century Amer i ca 1 1. “My Resolve Is the Feminine of My Father’s Oath”: Ritual Agency and Religious Language in the Early National Historical Novel 25 2. “Unsheathe the Sword of a Strong, Unbending Will”: Sentimental Agency and the Doctrinal Work of Woman’s Fiction 53 3. “I Have Sinned against God and Myself ”: Bearing Witness to Enslaved Women’s Agency in Incidents in the Life of a Slave Girl 89 4. “The Human Soul . ​Makes All Things Sacred”: Communal Agency in the Theological Romances of Harriet Beecher Stowe 115 5. “I Have No Disbelief ”: Women’s Spiritualist Novels and Nonliberal Agencies 150 Conclusion: Women’s Religious Agency Today 177 Notes 193 Bibliography 231 Index 255 Acknowl edgments This book began during my time at the Univer- sity of North Carolina at Chapel Hill under the directorship of Jane Thrailkill, who was everything I could wish for in a mentor: caring and rigorous, kind and professional, able to see through messy drafts and vague, hand-waving de- scriptions to the kernel of the idea beneath. It was my privilege to be her student, as it is now my delight to be her friend. Other scholars at UNC con- tributed immeasurably to the book: Philip Gura, Laurie Maffly- Kipp, Tim Marr, and Eliza Richards deserve my utmost gratitude, and Joy Kasson, Mat- thew Taylor, and Joseph Viscomi each contributed in crucial ways to my career. In addition to these mentors, I was blessed with peers who patiently and re- peatedly read drafts of this book, and whose intellectual and emotional sup- port made (long) years of work not only bearable but joyful. My long-standing writing group— Kelly Bezio, Ben Bolling, Angie Calcaterra, Harry Thomas, and Jenn Williamson— deserve more thanks than I can possibly express. It’s no exaggeration to say that I couldn’t have completed this book without them. Other colleagues provided intellectual and personal support; they include Erin Branch, Katie Carlson-Eastvold, Graham Culbertson, Meredith Farmer, Joe Fletcher, Megan Goodwin, Meredith Malburne- Wade, John D. Martin III, Kate Massie, Christin Mulligan, Will and Sarah Shaw, Heath Sledge, Sarah Tolf, and too many others to name. The En glish Department at Virginia Tech has been a wonderfully welcom- ing place to continue this book; here I’m grateful for guidance from many se nior colleagues including Tom Ewing, Virginia Fowler, Bernice Hausman, Peter Potter, and Katrina Powell. I have benefited from a grant-supported writ- ing group (for which many thanks go to Rachel Gabriele and the VT Office of the Provost) that includes Katie Carmichael, Tiffany Drape, Estrella John- son, Christine Labuski, Erika Meitner, Sarah Ovink, Claire Robbins, Sharone Tomer, and Megan Wawro. I am also constantly buoyed by the friendship and collegiality of Silas Moon Cassinelli, Katharine Cleland, Carolyn Commer, Rachel Gross, Shaily Patel, and Abby Walker. vii viii ACKNOWL EDGMENTS I must acknowledge some specific debts to mentors and fellow scholars. Me- lissa Homestead provided advice about navigating the Catharine Maria Sedg- wick Papers on microfilm and supplied copies of two unpublished conference papers on Catharine Maria Sedgwick that shaped my thinking in chapter 1. Nicole Livengood provided transcriptions of Elizabeth Stoddard’s Daily Alta California columns, facilitating my work on chapter 5. And Tazeen Ali shared research in pro gress on the Women’s Mosque of Ameri ca that informs my con- clusion. Additionally, Claudia Stokes provided crucial advice on the publish- ing pro cess; Jared Hickman gave timely critique at the proposal stage; and Justine Murison has been a miraculously kind and generous mentor since the first moment we met. I am grateful to each of them. Institutional support for this project has come in the form of a Thomas F. Ferdinand Summer Research Fellowship from the UNC Graduate School, a Richardson Fellowship from the UNC Department of En glish and Compara- tive Lit er a ture, a faculty mentoring grant from the Virginia Tech Office of the Provost, a Niles Research Grant from the VT College of Liberal Arts and Human Sciences, and a publication support grant from the Virginia Tech Cen- ter for Humanities. Start-up funding from Virginia Tech enabled me to hire a developmental editor, Heath Sledge, whose thorough critique was crucial to the revision pro cess. Both UNC and Virginia Tech also provided travel funds that allowed me to present portions of this work at numerous conferences and institutes; while I cannot list all of them here, I’m particularly grateful to au- diences at the 2010, 2014, and 2017 Catharine Maria Sedgwick Society Sym- posia and workshop participants at the 2012 and 2016 Futures of American Studies Institutes for their helpful feedback. I must also thank the incredible libraries and librarians who have lent their resources and expertise to the book. I owe par tic u lar thanks to Tommy Nixon of the UNC Libraries and to Virginia Tech’s Newman Library staff for their willingness to fulfill endless interlibrary loan requests and for the incalculable gift of campus mail book delivery. I am also grateful to the staff of the Schlesinger and Houghton Libraries in Cambridge, Mas sa chu setts, and to Beth Burgess and Cindy Cormier of the Harriet Beecher Stowe Center, who wel- comed me warmly to Hartford and provided insight and assistance with their collections. En glish Department staff members at both UNC and Virginia Tech have provided cheerful and efficient support. I’m particularly indebted to Linda Horne and Mark Richardson at UNC and to Kristen Cox, Laura Ferguson, Judy Grady, Patty Morse, Sandra Ross, Sally Shupe, Bridget Szerszynski, and Eve Trager at Virginia Tech. Portions of chapter 5 appeared as “ ‘I Have No Disbelief’: Spiritualism and Secular Agency in Elizabeth Stoddard’s The Morgesons” in J19: The Journal of ACKNOWL EDGMENTS ix Nineteenth- Century Americanists 5, no. 1 (2017): 151–77. I am grateful to the editors of J19 and to the University of Pennsylvania Press for permission to reprint them here. I also thank the Sterling Library at Yale University, the Harry Ransom Center at the University of Texas at Austin, and the Harriet Beecher Stowe Center for permission to reproduce quotations from the letters of Har- riet Beecher Stowe that appear in chapters 4 and 5. My editor at Cornell University Press, Mahinder Kingra, has been a gener- ous reader of this monograph and has shepherded it (and me) through the pro cess of publication with grace and patience. I am grateful to him, to the editorial and production staff at Cornell, and to the two anonymous readers of the manuscript who provided generative responses that, I trust, improved the final product. Fi nally, I am grateful to my family for their unwavering support. To my par- ents, Ralph and Sharon Reed; my sisters, Heather Turner and Shannon Her- ring; my brothers- in- law, Richard Turner and Daniel Herring; and my nieces, Grace Turner, Abigail Turner, Eden Herring, and Amelia Herring, I offer my thanks and love. HEAVEN’S INTERPRETERS Introduction Writing Women’s Religious Agency in Nineteenth- Century Amer i ca This book engages in a deceptively simple task: it reads for religion in antebellum fiction by Americanwomen writers. It ex- plores some of the many ways that the imaginative repre sen ta tion of religious doctrine, ritual, and practice offered nineteenth- century women writers a means for imagining new forms of female agency made pos si ble by a rapidly changing religious- secular milieu.
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