Lydia Maria Child, James Fenimore Cooper, and Catharine Maria Sedgwick:

Soft Canons ◽  
2018 ◽  
pp. 27-47 ◽  
Author(s):  
SUSANNE OPFERMANN
Author(s):  
Kimberly M. Berkey ◽  
Joseph M. Spencer

As is often noted, The Book of Mormon attaches normative value to whiteness and generally ignores women’s spirituality. This essay insists, however, that the book’s presentation of gender and race should be read with an eye to characters who, from within the volume’s own narrative, identify and critique the racial and sexual presuppositions of the narrative. Focused on the racialized prophet Samuel and the countercultural prophet Jacob, the authors thus read The Book of Mormon as aware of and critical toward its own apparent racial and sexual problems. They argue that The Book of Mormon would in this way likely have struck its earliest readers as in step with the then-nascent genre of domestic fiction, represented in the 1820s by Lydia Maria Child (Hobomok) and Catharine Maria Sedgwick (Hope Leslie). Yet, unlike such novels, The Book of Mormon does its work through inventive (but subtle) reimaginings of key biblical texts.


1997 ◽  
Vol 52 (1) ◽  
pp. 27-57 ◽  
Author(s):  
Steven Blakemore

This essay demonstrates that James Fenimore Cooper was incorporating the language and values of Edmund Burke's A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757) into the "world" of The Last of the Mohicans (1826). In the Enquiry Burke's distinction between the sublime and beautiful centers on traditional distinctions between men and women-an "eternal distinction" that Burke continually underscores. In Mohicans Cooper initially incorporates the beautiful into the sublime, in an intentionally illusive "mix" that corresponds to the illusory mixing of the white and Indian races. He then reinscribes Burke's distinction between the sublime and beautiful as an eternal distinction between whites and Indians-writing "out" the problem of the "Other" (gendered "femininity" and alien, "red" beauty) in a meditation of the significance of culture and race in America. In retrospect, Mohicans is a novel of ambiguous "crosses" and complicitous combinations-a novel of fatal and fruitful mixes comprising a series of covert traces telling a secret story contradicting Cooper's overt, racial ideology. Yet it is this "pristine" ideology that finally overpowers and double-crosses the novel's "other" message. Written in 1826, at a specific historical moment when the Indian tribes were being removed or destroyed, the novel reaffirms a racial ideology tortured with its own historical ambiguities.


Author(s):  
Julie Miller

This book shows how a woman's desperate attempt at murder came to momentarily embody the anger and anxiety felt by many people at a time of economic and social upheaval and expanding expectations for equal rights. On the evening of November 1, 1843, a young household servant named Amelia Norman attacked Henry Ballard, a prosperous merchant, on the steps of the Astor House Hotel. Agitated and distraught, Norman had followed Ballard down Broadway before confronting him at the door to the hotel. Taking out a folding knife, she stabbed him. Ballard survived the attack, and the trial that followed created a sensation. Newspapers in New York and beyond followed the case eagerly, and crowds filled the courtroom every day. The prominent author and abolitionist Lydia Maria Child championed Norman and later included her story in her fiction and her writing on women's rights. Norman also attracted the support of politicians, journalists, and legal and moral reformers who saw her story as a vehicle to change the law as it related to “seduction” and to advocate for the rights of workers. This book describes how New Yorkers followed the trial for entertainment. Throughout all this, Norman gained sympathys, in particular the jury, which acquitted her in less than ten minutes. The book weaves together Norman's story to show how, in one violent moment, she expressed all the anger that the women of the emerging movement for women's rights would soon express in words.


1932 ◽  
Vol 47 (2) ◽  
pp. 71 ◽  
Author(s):  
Nelson F. Adkins

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