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Chapter in Ariadne’S Thread: Narrative Lines, Miller Establishes the Critical Dilemma RE-VISIONING THE “GIRLS” IN HAWTHORNE’S A WONDER BOOK FOR GIRLS AND BOYS AND TANGLEWOOD TALES: A MYTHIC-FEMINIST ANALYSIS Jill Nicole Buettner B.A., California State University, Fresno, 2007 THESIS Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in ENGLISH (Literature) at CALIFORNIA STATE UNIVERSITY, SACRAMENTO SPRING 2010 © 2010 Jill Nicole Buettner ALL RIGHTS RESERVED ii RE-VISIONING THE “GIRLS” IN HAWTHORNE’S A WONDER BOOK FOR GIRLS AND BOYS AND TANGLEWOOD TALES: A MYTHIC-FEMINIST ANALYSIS A Thesis by Jill Nicole Buettner Approved by: __________________________________, Committee Chair Nancy Sweet, Ph.D. __________________________________, Second Reader Mark Hennelly, Ph.D. ____________________________ Date iii Student: Jill Nicole Buettner I certify that this student has met the requirements for format contained in the University format manual, and that this project is suitable for shelving in the Library and credit is to be awarded for the Project. __________________________, Graduate Coordinator ________________ David Toise, Ph.D. Date Department of English iv Abstract of RE-VISIONING THE “GIRLS” IN HAWTHORNE’S A WONDERBOOK FOR GIRLS AND BOYS AND TANGLEWOOD TALES: A MYTHIC-FEMINIST ANALYSIS by Jill Nicole Buettner In Hawthorne’s companion books, A Wonder Book for Girls and Boys and Tanglewood Tales, Hawthorne creatively retells classical Greek myths. While entertaining and imaginative, these stories have received far less critical attention than Hawthorne’s literature for adults because some scholars consider them to be less complex—a notion that my thesis challenges. Through a close analysis of each of the mythic female characters in A Wonder Book and Tanglewood Tales, my thesis observes the ways that gender functions in the stories. With characters such as Baucis and Marygold, Hawthorne upholds the venerated “Angel in the House” stereotype, but more often, Hawthorne problematizes the dark/fair lady dichotomy that he is so often accused of perpetuating. From the androgynous flower children of A Wonder Book to the powerful, enigmatic Medea and Circe of Tanglewood Tales, Hawthorne has created increasingly evocative, non-stereotypical representations of femininity. _______________________, Committee Chair Nancy Sweet, Ph.D. _______________________ Date v ACKNOWLEDGMENTS I am greatly indebted to my advisors, Nancy Sweet and Mark Hennelly, for your crucial assistance in my work on this thesis. Professor Sweet, thank you for your scholarly guidance, critical insight, patience, thoughtful feedback, warm enthusiasm, moral support, and faith in me as a student and scholar-in-progress. If I am ever half the teacher that you are, I will consider myself very successful, indeed. Professor Hennelly, thank you for your expertise, wisdom, honest evaluation of my work, and encouragement. Thank you especially for your great generosity in working with me after your retirement; you have been a tremendous source of inspiration, and I feel honored to be your “last” student at CSUS. Thank you also to my parents for your support and to Alan Ouellette for your understanding (and for cooking me dinner every night while I wrote this). vi TABLE OF CONTENTS Page Acknowledgments....................................................................................................... vi Chapter 1. FLIGHTS OF FANCY AND MYTHIC INSIGHT: AN INTRODUCTION TO HAWTHORNE’S APPROACH TO LITERATURE ................................................... 1 2. CHEERFULNESS VERUS COMPLEXITY: A CRITICAL READING OF THE ARCHETYPAL WOMEN OF A WONDER BOOK .................................................. 14 3. “THE LITTLE FRIENDS”: LIMINALITY AND GENDER IN A WONDER BOOK’S INTERNARRATIVES ................................................................................ 39 4. DESCENT INTO THE LABYRINTH: VIOLENCE, LOVE, AND REBIRTH IN THE ABDUCTION NARRATIVES OF TANGLEWOOD TALES ........................... 68 5. WEAVERS OF FATE: FEMININE POWER, FEMALE SPACE, AND THE “BAD” GIRLS OF TANGLEWOOD TALES .............................................................. 91 6. EPILOGUE ......................................................................................................... 118 Works Cited ...............................................................................................................121 vii 1 Chapter 1 FLIGHTS OF FANCY AND MYTHIC IN-SIGHT: AN INTRODUCTION TO HAWTHORNE’S APPROACH TO LITERATURE First having read the book of myths… “Diving into the Wreck” Adrienne Rich Hawthorne wrote of his ideas for attempting a new kind of writing—children’s literature—in an 1843 letter to his friend Henry Wadsworth Longfellow: “I see little prospect but that I must scribble for a living. But this troubles me much less than you would suppose. I can turn my pen to all sorts of drudgery, such and children’s books &c” (CE 252). The next time he approached the topic of children’s literature with Longfellow, he suggested that the two former schoolmates collaborate on a collection, tentatively entitled Boy’s Wonder Horn (Laffrado 2). Though the project never came to fruition due to Longfellow’s lack of interest, Hawthorne’s letters to Longfellow outline his writerly intentions in his companion books A Wonder Book and Tanglewood Tales. He predicts, “Possibly we may make a great hit, and entirely revolutionize the whole system of juvenile literature” (CE 266). By hit, he certainly means popularity on a mass level, and, thus, financial success. Throughout his life, Hawthorne often worried about money, and he saw the promise of pecuniary stability in juvenile writing. Because he saw writing for children as a simpler task than the adult romances he toiled over, it would be economical to write them because “it would require only a short time to complete the volume, if we were to set about it in good earnest” (CE 276). Last, he was optimistic that the volume promised “a very fair chance of profit” (CE 288). It is delightfully ironic that such imaginative tales were to be the fruit of such unromantic ruminations. 2 Hawthorne’s main objective was to revolutionize the genre of children’s literature: a genre, according to Laffrado, he thought “encouraged poor writing and false truths” (2). Most of Hawthorne’s contemporaries believed that children’s literature should, first and foremost, instruct children in the conservative social mores of the era. Second, children’s literature should not be fanciful; rather, it should be situated in reality and everyday life. Against this model, A Wonder Book and Tanglewood Tales introduce the imaginative, mythic, fantastic, and exotic into the New England landscape and are written, primarily, to entertain rather than to instruct, though they manage to do both. Where other antebellum children’s writers were concerned with outward displays of morality, Hawthorne’s morals tend to direct the reader’s gaze inward toward self- reflection that takes on a mythic significance in its examination of the psyche. This introduction will briefly discuss the genre of antebellum children’s literature as it existed before Hawthorne’s contribution as a way to situate and ground our analysis in a historical context. We will then examine the creative and imaginative ways that Hawthorne revised or re-visioned children’s literature. Last, we will outline the theoretical and critical lenses we will be viewing Hawthorne’s literature through in our subsequent chapters, justifying the need for a mythic-feminist reading of A Wonderbook and Tanglewood Tales. Antebellum Children’s Literature As Anne Scott MacLeod points out in A Moral Tale: Children’s Fiction and American Culture 1820-1860, antebellum children’s literature was not particularly artistic or individualistic: 3 There was little creative imagination or highly personal vision in these stories; stylistically and ideologically they were remarkably similar to one another. Like other forms of popular literature, they mirrored the conventional thought of the dominant middle class in their time; indeed, their didactic reason for being ensured that they would promulgate accepted ideas almost exclusively and blur or obliterate controversy. (13) The generally accepted ideas of the time included the notion that the written word has power to form the malleable minds and hearts of children. As one unnamed early author of children’s fiction claims, “It is for the books of early instruction, in a great degree, to lay the foundation on which the whole superstructure of individual and national greatness must be erected.” He regrets the fact that “the greater part of the juvenile books in the United States are foreign,” for these books “give a wrong direction to the minds of the young” (MacLeod 20). This quote illustrates many important aspects of early nineteenth century children’s literature. First, the literature was treated as a pedagogical tool, and second, it was motivated by a strong sense of nationalism. The production of American literature offering “American scenes and American characters” proliferated in the 1850’s. Part of the Americanization of the setting had to do with promoting literary realism, or so juvenile authors thought. The stories were meant to be “true to nature….and the conditions of ordinary life” (qtd. in MacLeod 41). However, the necessary moralizing of the stories undercut the realism. As MacLeod articulates, Both consciously and unconsciously, the authors edited reality in order to teach morality, with the result that the ‘real world’ as it appeared in the literature
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