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• W2892762467 abstract "SHAWN E. MILLER Francis Marion University Desire and Materiality in Ellen Glasgow’s Barren Ground READERS OF ELLEN GLASGOW’S BARREN GROUND (1925) ENCOUNTER A heroine who at first seems doubly familiar. At twenty, Dorinda Oakley steps into the commonest of snares certain kinds of young women in certain kinds of books are liable to: she falls in love with a scoundrel who, after getting her with child, jilts her. If we expect a tired moral to accompany this tired plot, we are happily disappointed. Glasgow’s version is cautionary to be sure, though not merely for foolish young women; in fact, what precipitates Dorinda’s disappointment is a motive shared widely among American protagonists who are more commonly male. Like Huckleberry Finn, Dorinda considers her surroundings a trap from which she must struggle to free herself. Like Anderson’s George Willard, she is captivated by fantasies of departure. And like Wharton’s Newland Archer, Dorinda trains her desire for something different on an exotic member of the opposite sex and calls it love. Another writer, thinking the rest of Dorinda’s life too dull to narrate, might have given us this story of love lost and little else. Mark Twain’s Dorinda—after many interim adventures and unaccountably getting the better of the scoundrel in the end—would light out for New York on the last page. When Glasgow’s Dorinda steps on the northbound train, on the other hand, we are only a third of the way through; her Dorinda ends as a woman of fifty, living in the house where she was born, who looks forward only to the fruition of the decisions she has already made. Though her hapless romance with Jason Greylock becomes the great defining moment in Dorinda’s life, Glasgow ultimately finds the woman Dorindabecomesfarmoreinterestingthanthegirlintheorange-colored shawl we see on the first page. Whether we should approve of the woman Dorinda becomes has motivated assessments of the novel from the beginning. Though reviewers enthusiastically confirmed Doubleday’s publicity announcement that “With Barren Ground, realism at the last crosses the Potomac” (Sherman 241), part of their nearly unanimous admiration also followed from finding that the woman long praised for writing like a man had 80 Shawn E. Miller fashioned a heroine who behaved like one. Stuart P. Sherman, for instance, assured men “realistic enough to admit that they could live without their wives but not without their work” that they were “likely to see in Dorinda a fine sort of heroine” (245). And in an influential review, Carl Van Doren asserted that “Dorinda stands like a tower” among heroines because she triumphs as a hero would and that though she remains essentially feminine “she is the husband of her farm, working her creative will upon it, mastering it and cherishing it till it responds with the harvests she has desired” (251). But many critics have also failed to imagine that such a woman—unsentimental, celibate, and driven—might exist, much less as someone who has “triumphed over the sense of futility” as Glasgow claimed (Preface viii). Some, such as Glasgow biographer E. Stanley Godbold, Jr., have also found Dorinda a rather unpleasant person. She is, he asserts, “a mechanized human being totally drained of humanity” who reaches a “barren plateau where no sane person would wish to go or dare to stay”; furthermore, only “an embittered and cynical woman” could have created her (137-38). Dorinda continues to provoke such contrary interpretations, as Julius Rowan Raper has pointed out (153). If one view prevails, it is that the character embodies Glasgow’s dearest hopes and gloomiest (though repressed) apprehensions for her own life; Dorinda’s fervent belief that she has triumphed is Glasgow’s unintended acknowledgment of her own failure. This idea is not new. More than forty years ago, Blair Rouse put Dorinda Oakley, and by proxy Ellen Glasgow, on the analyst’s couch and concluded that “Glasgow may have been trying to convince herself of her own victory. . . . The novelist needed to believe that she had learned to live without love, that fortitude and the power of beauty were enough; yet she was not sure” (95). Much of Glasgow’s life, and..." @default.
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• W2892762467 title "Desire and Materiality in Ellen Glasgow’s Barren Ground" @default.
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• W2892762467 doi "https://doi.org/10.1353/mss.2010.0025" @default.
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