Sarah Hicks Williams was the northern-born wife of an antebellum slaveholder. Rebecca Fraser traces her journey as she relocates to Clifton Grove, the Williams' slaveholding plantation, presenting her with complex dilemmas as she reconciled her new role as plantation mistress to the gender script she had been raised with in the North.

What we know of the marked body in nineteenth-century American literature and culture often begins with The Scarlet Letter's Hester Prynne and ends with Moby Dick's Queequeg. This study looks at the presence of marked men and women in a more challenging array of canonical and lesser-known works, including exploration narratives, romances, and frontier novels. Jennifer Putzi shows how tattoos, scars, and brands can function both as stigma and as emblem of healing and survival, thus blurring the borderline between the biological and social, the corporeal and spiritual. Examining such texts as Typee, Uncle Tom's Cabin, Captivity of the Oatman Girls, The Morgesons, Iola Leroy, and Contending Forces, Putzi relates the representation of the marked body to significant events, beliefs, or cultural shifts, including tattooing and captivity, romantic love, the patriarchal family, and abolition and slavery. Her particular focus is on both men and women of color, as well as white women-in other words, bodies that did not signify personhood in the nineteenth century and thus by their very nature were grotesque. Complicating the discourse on agency, power, and identity, these texts reveal a surprisingly complex array of representations of and responses to the marked body--some that are a product of essentialist thinking about race and gender identities and some that complicate, critique, or even rebel against conventional thought.

In Reconstructing the Household, Peter Bardaglio examines the connections between race, gender, sexuality, and the law in the nineteenth-century South. He focuses on miscegenation, rape, incest, child custody, and adoption laws to show how southerners struggled with the conflicts and stresses that surfaced within their own households and in the larger society during the Civil War era. Based on literary as well as legal sources, Bardaglio's analysis reveals how legal contests involving African Americans, women, children, and the poor led to a rethinking of families, sexuality, and the social order. Before the Civil War, a distinctive variation of republicanism, based primarily on hierarchy and dependence, characterized southern domestic relations. This organic ideal of the household and its power structure differed significantly from domestic law in the North, which tended to emphasize individual rights and contractual obligations. The defeat of the Confederacy, emancipation, and economic change transformed family law and the governance of sexuality in the South and allowed an unprecedented intrusion of the state into private life. But Bardaglio argues that despite these profound social changes, a preoccupation with traditional notions of gender and race continued to shape southern legal attitudes.

Race and Vision in the Nineteenth-Century United States is a collection of twelve essays by cultural critics that exposes how fraught relations of identity and race appear through imaging technologies in architecture, scientific discourse, sculpture, photography, painting, music, theater, and, finally, the twenty-first century visual commentary of Kara Walker. Throughout these essays, the racial practices of the nineteenth century are juxtaposed with literary practices involving some of the most prominent writers about race and identity, such as Herman Melville and Harriet Beecher Stowe, as well as the technologies of performance including theater and music. Recent work in critical theories of vision, technology, and the production of ideas about racial discourse has emphasized the inextricability of photography with notions of race and American identity. The collected essays provide a vivid sense of how imagery about race appears in the formative period of the nineteenth-century United States.

Breaking every prescription of ideal femininity, American actresses of the mid-nineteenth century appeared in public alongside men, financially supported nuclear and extended families, challenged domestic common law, and traveled the globe in the transnational theater market. While these women expanded professional, artistic, and geographic frontiers, they expanded domestic frontiers as well: publicly, actresses used the traditional rhetoric of domesticity to mask their very nontraditional personal lives, instigating historically significant domestic innovations to circumvent the gender constraints of the mid-nineteenth century, reinventing themselves and their families in the process. Nan Mullenneaux focuses on the personal and professional lives of more than sixty women who, despite their diverse backgrounds, each made complex conscious and unconscious compromises to create profit and power. Mullenneaux identifies patterns of macro and micro negotiation and reinvention and maps them onto the waves of legal, economic, and social change to identify broader historical links that complicate notions of the influence of gendered power and the definition of feminism; the role of the body/embodiment in race, class, and gender issues; the relevance of family history to the achievements of influential Americans; and national versus inter- and transnational cultural trends. While Staging Family expands our understanding of how nineteenth-century actresses both negotiated power and then hid that power, it also informs contemporary questions of how women juggle professional and personal responsibilities—achieving success in spite of gender constraints and societal expectations.

This volume chronicles the media's role in reshaping American life during the tumultuous nineteenth century by focusing specifically on the presentation of race and gender in the newspapers and magazines of the time. The work is divided into four parts: Part I, Race Reporting, details the various ways in which America's racial minorities were portrayed; Part II, Fires of Discontent, looks at the moral and religious opposition to slavery by the abolitionist movement and demonstrates how that opposition was echoed by African Americans themselves; Part III, The Cult of True Womanhood, examines the often disparate ways in which American women were portrayed in the national media as they assumed a greater role in public and private life; and Part IV, Transcending the Boundaries, traces the lives of pioneering women journalists who sought to alter and expand their gender's participation in American life, showing how the changing role of women led to various journalistic attempts to depict and define women through sensationalistic news coverage of female crime stories.

In Relative Races, Brigitte Fielder presents an alternative theory of how race is ascribed. Contrary to notions of genealogies by which race is transmitted from parents to children, the examples Fielder discusses from nineteenth-century literature, history, and popular culture show how race can follow other directions: Desdemona becomes less than fully white when she is smudged with Othello's blackface, a white woman becomes Native American when she is adopted by a Seneca family, and a mixed-race baby casts doubt on the whiteness of his mother. Fielder shows that the genealogies of race are especially visible in the racialization of white women, whose whiteness often depends on their ability to reproduce white family and white supremacy. Using black feminist and queer theories, Fielder presents readings of personal narratives, novels, plays, stories, poems, and images to illustrate how interracial kinship follows non-heteronormative, non-biological, and non-patrilineal models of inheritance in nineteenth-century literary culture.