From the famous deathbed scene of Harriet Beecher Stowe's Little Eva to Mark Twain's parodically morbid poetess Emmeline Grangerford, a preoccupation with human finitude informs the texture of nineteenth-century US writing. This collection traces the vicissitudes of this cultural preoccupation with the subject of death and examines how mortality served paradoxically as a site on which identity and subjectivity were productively rethought. Contributors from North America and the United Kingdom, representing the fields of literature, theatre history, and American studies, analyze the sexual, social, and epistemological boundaries implicit in nineteenth-century America's obsession with death, while also seeking to give a voice to the strategies by which these boundaries were interrogated and displaced. Topics include race- and gender-based investigations into the textual representation of death, imaginative constructions and re-constructions of social practice with regard to loss and memorialisation, and literary re-conceptualisations of death forced by personal and national trauma.

"From the famous deathbed scene of Harriet Beecher Stowe's Little Eva to Mark Twain's parodically morbid poetess Emmeline Grangerford, a preoccupation with human finitude informs the texture of nineteenth-century US writing. This collection traces the vicissitudes of this cultural preoccupation with the subject of death and examines how mortality served paradoxically as a site on which identity and subjectivity were productively rethought. Contributors from North America and the United Kingdom, representing the fields of literature, theatre history, and American studies, analyze the sexual, social, and epistemological boundaries implicit in nineteenth-century America's obsession with death, while also seeking to give a voice to the strategies by which these boundaries were interrogated and displaced. Topics include race- and gender-based investigations into the textual representation of death, imaginative constructions and re-constructions of social practice with regard to loss and memorialisation, and literary re-conceptualisations of death forced by personal and national trauma."--Provided by publisher.

Nineteenth-century American women’s culture was immersed in religious experience and female authors of the era employed representations of faith to various cultural ends. Focusing primarily on non-canonical texts, this collection explores the diversity of religious discourse in nineteenth-century women’s literature. The contributors examine fiction, political writings, poetry, and memoirs by professional authors, social activists, and women of faith, including Elizabeth Stuart Phelps, Angelina and Sarah Grimké, Louisa May Alcott, Rebecca Harding Davis, Harriet E. Wilson, Sarah Piatt, Julia Ward Howe, Julia A. J. Foote, Lucy Mack Smith, Rebecca Cox Jackson, and Fanny Newell. Embracing the complexities of lived religion in women’s culture-both its repressive and its revolutionary potential-Nineteenth-Century American Women Write Religion articulates how American women writers adopted the language of religious sentiment for their own cultural, political, or spiritual ends.

A History of Nineteenth-Century American Women's Poetry is the first book to construct a coherent history of the field and focus entirely on women's poetry of the period. With contributions from some of the most prominent scholars of nineteenth-century American literature, it explores a wide variety of authors, texts, and methodological approaches. Organized into three chronological sections, the essays examine multiple genres of poetry, consider poems circulated in various manuscript and print venues, and propose alternative ways of narrating literary history. From these essays, a rich story emerges about a diverse poetics that was once immensely popular but has since been forgotten. This History confirms that the field has advanced far beyond the recovery of select individual poets. It will be an invaluable resource for students, teachers, and critics of both the literature and the history of this era.

Dead and dying women are surely an age-old narrative trope. While associations of femininity with death have become almost prototypical in literary criticism and are familiar fodder for cultural conversations, the editors of Death Becomes Her offer us an opportunity to investigate the values that underlie such associations. But from where does our tireless investment in what constitutes a feminine death, a feminine reaction to death, and death’s courting of women emerge? These essays give voice to the idea that power and victimization are not opposites, but rather are complements in an operatic fantasy of intrigue, agency, absence and presence that pervades American writing and experience. Each chapter of Death Becomes Her offers a different lens to investigate the nature of death as surely more than just an anatomical matter: The penny press obsessively covers the death of a beautiful prostitute in 1840s Chicago; a novel of seduction becomes also a narrative of autopsy; a story of haunting allows women outlets for sexual license and the polemics of desire. Overall this volume invites readers to explore the ways in which death is portrayed as both an ornamentation of femininity and an ontological reality of it: how, put simply, “death becomes her.” Essays include analyses of women’s deathbed scenes, suicides, murders, funerals, and autopsies in literature and other nineteenth-century media. As such, the chapters in Death Becomes Her show how the authorial and readerly interest in scripting and staging women’s deaths is both intricate and abiding. They tell us that death is never, of course, simply about death, and they make relevant other issues, from linguistics to politics, as they inform the literature and lives of women from the late-eighteenth to early twentieth-century America. Taken together, the pieces in Death Becomes Her allow us greater access to the surrounding culture out of which the American woman emerges, performs, lives and dies. In doing so, they offer fresh insight into the often unsettling and highly relevant role of death in feminism.

This collection traces the vicissitudes of the cultural preoccupation with death in nineteenth-century US writing and examines how mortality served paradoxically as a site on which identity and subjectivity were productively rethought. Topics include race- and gender-based investigations into the textual representation of death, imaginative constructions and re-constructions of social practice with regard to loss and memorialisation, and literary re-conceptualisations of death forced by personal and national trauma.

The Gothic has always been interested in strange utterances and unsettling voices – from half-heard ghostly murmurings and the admonitions of the dead, to the terrible cries of the monstrous nonhuman. Gothic Utterance is the first book-length study of the role played by such voices in the Gothic tradition, exploring their prominence and importance in the American literature produced between the Revolutionary War and the close of the nineteenth century. The book argues that the American Gothic foregrounds the overpowering affect and distressing significations of the voices of the dead, dying, abjected, marginalised or nonhuman, in order to undertake a sustained interrogation of what it means to be and speak as an American in this period. The American Gothic imagines new forms of relation between speaking subjects, positing more inclusive and expansive kinds of community, while also emphasising the ethical demands attending our encounters with Gothic voices. The Gothic suggests that how we choose to hear and respond to these voices says much about our relationship with the world around us, its inhabitants – dead or otherwise – and the limits of our own subjectivity and empathy.