Literary Retrospectives: the 1890S and the Reconstruction of American Literary History
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Literary Retrospectives: The 1890s and the Reconstruction of American Literary History DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Karin L. Hooks Graduate Program in English The Ohio State University 2012 Dissertation Committee: Elizabeth Renker, Advisor Steven S. Fink Andrea N. Williams Copyright by Karin L. Hooks 2012 Abstract This dissertation proposes that the 1890s were critical to the formation of American literature because of their focus on identifying, collecting, and preserving an American literary tradition. Since 1930, when Fred Lewis Pattee claimed that the twentieth century began in the 1890s, a continuing strain in literary criticism has investigated the decade as the birthplace of modernism. In recent years, however, scholars have begun troubling these historical assessments of the era in order to recover a more nuanced understanding of the decade. Building on their work, I study how competing narratives of American literature existed in the 1890s alongside the fin de siècle movement toward literary nationalism. I recover a group of long-lost literary historians who envisioned a more inclusive American literary canon than was eventually adopted in the early years of the twentieth century. I use the term “scenes of negotiation” to refer to discussions of American literature in late nineteenth-century social discourse about the development of a national American literary tradition. More specifically, I argue that these scenes of negotiation can be read as literary history because no fixed narrative of American literature yet existed. These scenes of negotiation make discernible how accounts of literary history emerged at multiple sites, in multiple genres, through multiple agents. The Introduction identifies ii some of these scenes of negotiation and explains why they should be read as American literary history, which records the history of literature in America through an examination of texts and/or authors. Organized around specific case studies, the chapters explore how literary historians working singly or in conjunction with others documented the 1890s as a period of literary retrospection and consolidation. Chapter 1 investigates how Edmund Stedman and Ellen Hutchinson’s co-editorship of A Library of American Literature resulted in one of the late nineteenth century’s most important and formative constructions of American literature. Chapter 2 explores how The Critic’s elections for “The Forty Immortals” and “The Twenty Immortelles” proposed a gendered model of authorship that closely resembles the current state of the field of American literature. Chapter 3 examines how Pauline Hopkins worked as a cultural stenographer, writing an inclusive account of American literary history in her novel Contending Forces that included African Americans, a group largely ignored in A Library of American Literature and The Critic’s elections. Chapter 4 recovers the late nineteenth-century genre of obituary literature as a forum for validating male and female American authorship in order to illustrate how it aided in the development of an American literary tradition. This dissertation reaches three conclusions that provide a new framework for understanding the types of cultural work being done in the 1890s. First, scenes of negotiation document how the literary historians identified herein understood American literature’s role in recording the nation’s social and political development and in instilling cultural pride and patriotism in its citizenship. Second, scenes of negotiation unsettle traditional notions about who was writing literary history and the venues in which it was iii being written. Third, scenes of negotiation offer an alternative to traditional literary histories, revealing that some late nineteenth-century literary historians were determined to include female and minority authors in the American literary tradition. Recovering these scenes of negotiation changes our current understanding of the 1890s as an era lost to literary history by showing it a period alive with literary history and demonstrating that late nineteenth-century literary historians made possible the canon wars of the twentieth century by their recording of the rich and diverse American literary past. iv Dedicated to John v Acknowledgments This is a dissertation about retrospection, of remembering and reflecting in order to better appreciate the present. In completing it, I am especially grateful for the Ohio State intellectual community. Elizabeth Renker, my adviser, enthusiastically supported and encouraged me in more ways than I can enumerate. Andrea Williams inspired this project through her class on the 1890s. Steve Fink offered insightful comments and suggestions on my chapter drafts, and Susan Williams mentored me along the way. I am grateful to the Graduate School for the grant that funded my archival research at Columbia and Harvard, and to the research librarians at these institutions. I am especially thankful for my friends in Literacy Studies, and for Kathleen Griffin, who always had time to answer my questions over the years. My McNair family at Middle Tennessee State provided the push that got me started. And many friends helped me finish, particularly Anne-Marie and Heather. My family has been an unwavering source of encouragement, supporting me from near and far. This dissertation is dedicated to my husband, John, who lovingly supported me, and to my daughter, MaryBeth, who cheered me on every step of the way. And it is written in loving memory of my mother, whose belief in me fueled my dream of graduate school. vi Vita April 16, 1962................................................Born—Topeka, Kansas 2005 ...............................................................B.A. English Middle Tennessee State University 2007 ...............................................................M.A. English, University of Delaware 2007-2012 .....................................................Graduate Teaching Associate, The Ohio State University Fields of Study Major Field: English vii Table of Contents Abstract............................................................................................................................... ii Dedication.......................................................................................................................... iv Acknowledgments ...............................................................................................................v Vita..................................................................................................................................... vi List of Tables ................................................................................................................... viii Introduction: Mapping American Literature in the 1890s ...................................................1 Chapter 1: Edmund Clarence Stedman and Ellen McKay Hutchinson: Co-Editors of A Library of American Literature.............................................24 Chapter 2: “The Forty Immortals” and “The Twenty Immortelles”: The Critic and Its Readers’ “Newspaper Academy” ......................................68 Chapter 3: Pauline Hopkins: Cultural Stenographer of the 1890s...................................128 Chapter 4: The Critic’s Obituary Literature and the Construction of American Literary History.............................................................................187 Bibliography ....................................................................................................................244 viii List of Tables Table 1: Working List of Sources Identified in Pauline E. Hopkins’s Contending Forces...............................................................................................146 ix Introduction Mapping American Literature in the 1890s In August 1898, The Bookman: A Review of Books and Life published “A Literary Map of the United States” that envisioned much of the American literary landscape as still open for settlement.1 The Bookman’s explanation of the map, in its column “Chronicle and Comment,” drew on the language of national conquest, extending the late nineteenth-century concepts of Manifest Destiny and westward expansion into the literary arena. Before identifying Paul Wilstach, the former literary editor of the Washington Times, as the “ingenious literary geographer who designed the map,” the Bookman says, The accompanying geographical map of American Literature needs no key for its comprehension by the intelligent reader and student of our literature. It shows the geographical relations of accepted and familiar American authors to each other, delimiting the haunts of their “local colour,” and marking off the territorial rights to which they may be said to lay claim as pioneers and conquerors. It will also serve as a valuable guide to ambitious writers looking for fresh fields and pastures new. Not the 1 Founded by Howard Dodd, president of New York publishers Dodd, Mead, and Company and a professor of Latin at Columbia University, The Bookman was edited between during this time by Harry Thurston Peck and James MacArthur. See Mott’s A History of American Magazines, 4: 432-441. 1 least interesting feature is the vast extent of lands that are indicated as still “unclaimed.” The names of several American authors will occur to the observer as being omitted on this map, but a moment’s reflection will show that they