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• W157295679 abstract "And so I am to write a story--but of what, and where? Shall it be radiant with sky of Italy? or eloquent with beau ideal of Greece? Shall it breathe odor and languor from orient, or chivalry from occident? or gayety from France? or vigor from England? No, no; these are all too old--too romance-like--too obviously picturesque for me. No; let me turn to my own land--my own New England; land of bright fires and strong hearts; land of deeds, and not of words; land of fruits, and not of flowers; land often spoken against, yet always respected; the latchet of whose shoes nations of earth are not worthy to unloose. (Uncle 4) Harriet Beecher Stowe's prototypical regional piece, 1834 Lot, begins with melodrama and direct addresses to reader. Originally titled A New England Sketch, is set in Newbury and concerns title character's transformation as he faces his son's death and his daughter's marriage. After double-voiced opening which establishes New England as a worthy locale for fiction, tale moves to James Benton, pleasant and handsome young minister of village who courts Lot and Sally Griswold's daughter, Grace. Grace's sickly brother George completes seminary and returns to captivate his hometown congregation with sermons and, ultimately, to die, triggering changes in both Uncle Lot and James. These two who begin as antagonists end up allies, and James literally becomes part of Lot's family when he marries Grace. Stowe's characters and setting are regional, specific to Newbury, especially eponymous Uncle Lot. At same time, its plot resolution and narrator provide a frame of melodramatic commentary complicates this regional tale. Historically, academic criticism of has followed one basic endeavor in separating story's regional elements from its melodramatic ones, contending melodramatic elements so present in Stowe's piece are an unfortunate nuisance. (1) Most notably, Joan Fetterley and Marjorie Pryse's introduction to their 1992 American Women Regionalists anthology includes an extended discussion in which they argue, as many other regionalist scholars do, this initial publication differ[s] significantly from other nineteenth-century women's writing in its character[s], language, plot, and relationship of author or narrator to her material, giving regionalism a distinctiveness from other modes of writing in nineteenth-century America (xii). Stowe in particular, they claim, develops a different kind of storytelling power in her regionalist pieces, in contrast to her anti-slavery tales like Uncle Tom's Cabin (2). This essay proposes a different reading of Stowe's short story, one does not focus on separating it from other American women's narratives. Instead, I will emphasize regional writing's affinities with domestic fiction, other genre of women's writing Fetterley and Pryse seek to separate from regional. When first appeared in Western Monthly Magazine, its melodramatic language was not unusual or distracting for contemporary readers (as it is for more recent critics). Female writers had already secured their reputation in American literature. From Susanna Rowson's 1794 Charlotte Temple on, women had been best-selling authors. Women's literature in America had become a force to reckon with in publishing world; whether heroine was a victim or conqueror, nineteenth-century America was interested in message of women's fiction. Nineteenth-century individuals read newspapers and heard sermons with a rhetoric quite similar to these novels. Within their larger context, Stowe's literary devices reflect everyday speech of their time. Even journalism employed same rhetoric. In an 1824 Seneca Farmer newspaper, for example, an historical article covering American Revolution describes a regiment fighting that they might if possible recover some portion of laurels of which they had this day been shorn (Revolutionary 1). …" @default.
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• W157295679 date "2003-06-01" @default.
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• W157295679 title "Let Us Only Take It as We Should: The Role of Domesticity in Harriet Beecher Stowe's Uncle Lot" @default.
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