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• W1972074471 abstract "Studies in American Fiction127 Karcher, Carolyn L. The First Woman in the Republic: A Cultural Biography ofLydia Maria Child. Durham: Duke University Press, 1994. 804 pp. $37.95. How to write a feminist biography? Carolyn Karcher's grand account of the life and work of Lydia Maria Child stands as one of the best recent answers to the question, largely because the biographer is not afraid to allow her subject to raise it. What is at stake in doing so is immanent in the book's narration of Child's embrace of the American nineteenth century (18021880 ) and evident in its closing pages' reflective critical Afterword on the example that narrative may have set. A popular novelist whose novels are now seldom read, a reformer whose voice is not conspicuous in twentiethcentury histories of the period, political journalist and editor, author of children's literature and of domestic manuals (though Child herself had neither children nor house of her own), innovator in the feminine genre of the public letter, comparative historian of religious ideas and of the condition of women, Child emerges here as exemplary in a complex sense. As a writer who put her art in the service of the causes she espoused, Karcher writes, Child personified the link between the nineteenth century's literary and social reform movements (p. 612). Part of this book's aim is to frame Child as moral exemplum in the service of an implicit argument that such a service is still necessary and even possible, that Child's invisibility to modern readers is a symptom of the obscurity of the link she personified. For Karcher, the person, the career, indeed the century and their representation become one at the moment we identify with the woman contending with the same problems many face today: an unsatisfying marriage, unfulfilled sexual desires, domestic drudgery , and thwarted professional ambitions as well as with the activist dedicated to building a just society and with the writer searching for rhetorical strategies and narrative modes capable of transforming her readers' consciousness (p. 611). Through that act of identification, Child is constructed as feminist icon, and we are cast as those who inherit Child's unfinished revolution. ft is an inspiring call, and the finest resurrection Child is likely to receive. At the same time—and again, it may plausibly be counted among the book's many strengths that it admits of this qualification—the very success of the biographer's representational strategy prompts further questions about the strategy's uses. As Child herself exemplified in her early sketch on Personification (presented as a lesson for children in her 1824 Evenings in New England), cultural identification cuts both ways. In the sketch, Africa is a dark looking , naked figure, grappling with a lion, and casting a terrified look upon the vessel which he sees off the coast, South America is an fndian digging up whole shovelfuls of gold, and exchanging it with a dark looking man for a rod of iron, and North America is pictured as the Republic wrapped in her 128Reviews stars and stripes looking back at a distance at an Indian holding a bow and arrow. When her fellow abolitionist William Lloyd Garrison calls Child, then, in 1829 the first woman in the republic—and when Karcher adopts die encomium as her title—one begins to feel that Child had already glimpsed the deeply problematic character of the ideological territory she was to become representative of. In order to address, perhaps, the specter of Child as white, feminized allegory of a period which exacted as its costs persons personified quite differently , Karcher gives an impassioned documentary record of Child's social engagement, of the events leading up to and following her remarkable Appeal in Favor of That Class of Americans Called Africans (1833), of her editorial stint at The National Anti-Slavery Standard (1841-1843), of her partisanship of John Brown, of her anxieties during Reconstruction. Karcher is an accomplished cultural historian, and she tells a good story. Still, her admirable effort to interweave cultural history and literary criticism often tends to separate the personal from the historical in ways that puzzle the aims of her project. Thus..." @default.
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• W1972074471 title "The First Woman in the Republic: A Cultural Biography of Lydia Maria Child" @default.
• W1972074471 doi "https://doi.org/10.1353/saf.1996.0022" @default.
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