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• W2133120801 abstract "Strong: or Three Ways of Living Woman's Life, Winifred Woodfern's lead in the August 18, 1855, issue of Boston's popular paper, the True Flag, opens with memorable scene of teenage comradery and ambition. In an academy boardinghouse at the end of summer term, three girls have gathered for one last nostalgic night together before leaving school forever. Hero lounges in an armchair by window, wearing loose velvet outfit, sporting heavy signet ring on her finger, and smoking perfumed cigarito, while her friends, twin sisters Jennie and Julie Leland, sing together to the accompaniment of guitar. Hero's short, curly hair is parted on one side, like boy's, and when she joins the chorus, it is in deep contralto voice that adds strength to the higher tones of the sisters. After engaging in some playful banter, the three intimate friends talk seriously about their future plans. I must be wealthy and famous - then famous and wealthy - and then both together, Hero exclaims, referring to her dream of becoming successful author. This is the burden of my song - fame and riches. And both must be won by this good right hand. So saying, she proudly holds out small and seemingly delicate hand whose muscles are, in fact, as strong as iron. I want my own glory; not that which is reflected, faintly from another, near and dear as he may be, she resumes. If, after all this, an unfaltering love and happy is offered for my acceptance, well and good. The Leland twins have very different life goals: Beautiful Jennie intends to excel as a belle and flirt, while warm-hearted Julie wants only a quiet home in which she can love and care for others and be loved in return. In the tale that follows, each girl fulfills her self-appointed destiny, with Hero becoming worldrenowned authoress.1Although she usually wrote under the pseudonym Winnie (or Winifred) Woodfern, the author of Strong was actually Mary Field Williams Gibson, teenage orphan from Vermont who had moved to Boston sometime after July 1851. By the following summer, the seventeen-year-old had begun publishing poems, sketches, and short stories in several of the city's family or newspapers (also known as story papers), weekly periodicals that imitated the format of conventional newspapers but were filled mostly with popular fiction. Over the next several years, Gibson established herself as workhorse for two Boston papers - the True Flag and the American Union - and as regular or occasional contributor to several others. Her writing during that period was remarkably eclectic, including poems of various types, prose reveries, light satirical sketches, comical pieces in Yankee dialect, saccharine domestic narratives, of romantic intrigue, violent adventure stories, and supernatural thrillers. Amid that varied output, Strong was one of half dozen that she placed in the True Flag between 1853 and 1856 about teenage girls who display masculine traits, violate conventional gender norms, and struggle to fulfill high literary or artistic ambitions.2Mary Gibson's tales of teenage ambition shed significant new light on the transformation of women's authorship in the United States during the middle decades of the nineteenth century. In recent years, scholars have tended to attribute the emergence of new American conception of the woman author as literary artist (and the concurrent eclipse of domestic fiction) to the influence of an elite, male-dominated mode of high cultural production, centered in such exclusive venues as the Atlantic Monthly, that gained increasing influence during the 1860s and 1870s. The cases of Gibson and many other teenage girls or young women who launched writing careers during the early 1850s, however, suggest different account of the transformation of American female authorship - pushing its inception back into the antebellum period and locating its origins in more popular venues. …" @default.
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• W2133120801 date "2010-01-01" @default.
• W2133120801 modified "2023-10-17" @default.
• W2133120801 title "Making Hero Strong: Teenage Ambition, Story-Paper Fiction, and the Generational Recasting of American Women's Authorship" @default.
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• W2133120801 doi "https://doi.org/10.1353/jer.0.0136" @default.
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