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An Obtrusive Sense of Art‖: the Poetess and American Periodicals, 1850-1900

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An Obtrusive Sense of Art‖: the Poetess and American Periodicals, 1850-1900 ―AN OBTRUSIVE SENSE OF ART‖: THE POETESS AND AMERICAN PERIODICALS, 1850-1900 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Shannon L. Thomas, M. A. Graduate Program in English The Ohio State University 2010 Dissertation Committee: Susan S. Williams, Advisor Elizabeth Hewitt Steven Fink Copyright by Shannon L. Thomas 2010 ABSTRACT This dissertation explores the explicit artistry of women poets within the context of American periodicals from 1850 to 1900. The broadest goal is to address how four women poets developed their artistic identities within a periodical culture that was dependent upon gendered conceptions of artistry embodied in the image of the poetess. In periodicals, the ―poetess‖ was consistently depicted as a woman who freely recognized the limits of her sex and wrote poetry that embodied the virtues of the ideal Victorian woman. In contrast to the argument that the poetess tradition restricted women‘s artistry, I contend that it actually gave women poets the space and motivation to develop poetic practices that were self-consciously artistic. By approaching this subject through a study of specific facets of periodical culture, ones that women‘s poetry visibly responded to, this project offers a nuanced conception of what women poets‘ artistry entailed. Even as there was a uniform ―poetess‖ present in periodicals, women poets‘ interactions with and responses to this persona produced vastly different artistic models. Poetesses explicitly demonstrated their artistry when, for example, they deliberately experimented with generic categories and wrote meta-critical poems that obscured or refused simple interpretations. Each chapter focuses on a poetess and a periodical context that was influential in shaping her artistic ii identity: Emily Dickinson as a mass media critic and artist within the context of her local paper, the Springfield Daily Republican; Charlotte Forten as a Black Victorian Poetess and activist within the context of abolitionist newspapers; Sarah Piatt as an art critic and realist within the context of the periodical discourse on the fine arts; and Celia Thaxter as a conventional poetess and regionalist within the context of the Atlantic Monthly. This dissertation concludes that the emergence of women‘s ―obtrusive art‖ from within a culture so attached to the idea of women‘s ―artlessness‖ is an important event in American poetic history—one that has not been fully noticed or assessed by literary scholars. In addressing how women poets‘ aesthetic agendas were intricately tied to their periodical cultures, this dissertation accomplishes three major goals. First, I extend the rich criticism about the social and political significance of women‘s poetry by foregrounding women poets‘ artistic agendas in order to explain how women poets‘ ability to identify themselves as deliberate literary artists depended on a periodical culture that was adverse to the concept of a ―serious woman poet.‖ Second, I broaden the aims of periodical scholarship by illustrating the importance of periodicals to understanding nineteenth-century poets and the specific facets of periodical culture that were fundamental to women‘s poetics. Finally, and perhaps most importantly to American literature studies as a whole, this project advocates for reintegrating women‘s poetry into American literary history and for the necessity of reevaluating both nineteenth-century and current conceptions of the poetess so that the term reflects the actual practices and artistry of individual women poets. iii To Diane Thomas and Richard Thomas iv ACKNOWLEDGEMENTS It is my pleasure to acknowledge the long list of individuals who have offered their guidance and support that has made it possible to complete a project of this magnitude. First and foremost I would like to express my gratitude to my advisor, Susan S. Williams, for her support, direction, and dedication throughout the completion of this project. At every stage of the process, she offered insightful and helpful feedback and sincere encouragement. Susan became the director of this dissertation at a time when she also took on a new administrative role with enormous responsibility. It is due to her impeccable organization skills and commitment to her advisees that I always felt that I had her full attention. Throughout my time working with Susan, she quickly became a model for the type of scholar I admire most, particularly for the genuine excitement she expresses toward the field of American literature and the generosity she bestows to her peers and students. I would also like to thank my committee members, Elizabeth Hewitt and Steven Fink, for their careful and incisive feedback on my work, which was immensely helpful in refining my ideas and arguments, as well as their extensive knowledge about nineteenth-century American culture. I am also grateful to Elizabeth Renker, whose seminar on the post-bellum era first sparked my interest in the poetry of this period. Her v enthusiasm and guidance were fundamental to helping me conceive and develop this project. I would like to acknowledge the Department of English at The Ohio State University for awarding me a summer fellowship. This fellowship gave me the time to conduct extended research on a nineteenth-century newspaper. I am especially thankful to Nan Johnson for her superb advising as the Director of Graduate Studies, and Kathleen Griffin who answered all my questions and e-mails over the past eight years. Over the past two years, I have had the pleasure of working with the absolutely wonderful faculty of the Department of English at Wittenberg University. Their support and collegiality have made my entrance into the career as a professor a joy. I am especially appreciative of Cynthia Richards, Robin Inboden, Ty Buckman, D‘Arcy Fallon, and Mike Mattison for their guidance, advice, and friendship. Additionally, I want to acknowledge Lisa Marcus and Jim Albrecht at Pacific Lutheran University who helped me apply to graduate school and continue to offer exemplary models of the type of professor I want to be. I would not have been able to complete this project without the support and friendship of the following individuals: Alexis Martina, Mary Crone-Romanovski, Allison Fisher, Tera Pettella, Anne Langendorfer, and Lindsay DiCuirci. Each of these individuals read innumerable drafts (and then more drafts), found ever-elusive thesis statements buried in the middle of chapters, speculated on obscure grammar rules and citation styles, drafted concluding sentences at key moments, and spouted motivational statements necessary to complete a dissertation at a minute‘s notice. I would also like to vi thank Nathan Martina, and my friends from Pacific Lutheran University, Alyssa Wiedenheft, Krys Postma, Wendy Yuan, Lisa Lohse-Miranda, Mark Lohse-Miranda, and Tamara Ottum-Busse. They all provided much needed laughs and time away from the dissertation. The ABD Group at the Younkin Success Center at The Ohio State University helped me navigate the nebulous years as an ABD student. I would like to thank the group leaders, Lee Cohen, Shonali Raney, Siri Hoogen, and the following members of the group: Danielle, Chris, Sara, Kristen, Dan, Kimberly, Katerina, Fusako, and Christina. We shared each other‘s successes and challenges with a genuineness and empathy that is rare. Finally, this project is dedicated to my parents, Diane and Richard Thomas, not so much because this document will provide endless hours of entertaining reading for them, but because I would not be in this position without their love and support. They always have supported my academic ambitions and they celebrate my degree with the pride I imagine only parents can know and appreciate. I also want to thank my sister, Claire Thomas, who is the poet of the family and, incidentally, gave me a collection of Sara Teasdale‘s poetry a number of years ago, a poetess unknown to me who I have enjoyed reading. vii VITA April 13, 1979…………………………………………………….Born, Fairbanks, Alaska 2001…..........B.A., English and Political Science, cum laude, Pacific Lutheran University 2004…………………………………………….M.A., English, The Ohio State University 2007……………….Summer Fellowship, English Department, The Ohio State University 2007……………………………...Graduate Associate Teaching Award, Graduate School, The Ohio State University 2002-2008……………………..……..Graduate Teaching Associate, English Department, The Ohio State University 2008-2010…………….....Visiting Instructor, English Department, Wittenberg University PUBLICATIONS ―‗What News must think when Pondering‘: Emily Dickinson, the Springfield Daily Republican, and the Poetics of Mass Communication.‖ The Emily Dickinson Journal 19.1 (2010): 60-79. FIELD OF STUDY Major Field: English viii TABLE OF CONTENTS Page Abstract……………………………………………………………………………………ii Dedication………………………………………………………………………………...iv Acknowledgments…………………………………………………………………………v Vita……………………………………………………………………………………...viii Introduction: The Poetess and American Literary History………………………………..1 Chapter 1: Emily Dickinson‘s Poetics of Mass Communication and the Springfield Daily Republican………………………………………………………………...32 Chapter 2: Charlotte Forten, the Black Victorian Poetess, and Abolitionist Periodicals..............................................................................................................79 Chapter 3: Sarah Piatt‘s Art Poetry and the Periodical Discourse on Fine Arts……….137 Chapter 4: Celia Thaxter
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