By Gary Williams
Hungry center reexamines the early literary profession of Julia Ward Howe (1819-1910), top remembered because the writer of "The conflict Hymn of the Republic." Combining biographical narrative with textual research, Gary Williams reconstructs Howe's emergence as a author opposed to the backdrop of her deeply stricken marriage to Boston philanthropist Samuel Gridley Howe. between her early writings, Williams can pay specific cognizance to Passion-Flowers, a celebrated but arguable quantity of poems released in 1854, in addition to to an unpublished 400-page tale that includes a hermaphrodite as its protagonist. Williams exhibits how this latter paintings, startling in its daring exploration of sexual ambiguities, displays Howe's attempt to return to phrases together with her husband's intimate attachment to the well-known abolitionist Charles Sumner.
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Extra resources for Hungry heart: the literary emergence of Julia Ward Howe
20 Many of the opinions and perceptions Rich presents in What Is Found There: Notebooks on Poetry and Politics have resonated sharply for me while writing about Julia Ward Howenot least, Rich's distaste for Page 10 the extent to which speculative biography is displacing serious writing about poets and poetry. " 21 Hoping not to be seen as guilty of perpetrating this kind of commodifying reduction, I have tried to keep before me the mode in which Rich introduces biographical considerations in her discussions of contemporary poets.
As the dedication indicates, this book is for Joy Passanante, my wife, who not only read it in drafts and offered wise line-by-line comment, but who lived a version of this book's story with me and taught me how to hear a voice like Julia Ward Howe's. " To all reviewers, the verses seemed unprecedented: ''They form an entirely unique class in the whole range of female literature," said George Ripley in the New York Tribune. 1 Indeed, they did. Poems that spoke passionately of the feelings of a woman, but with the authority and independence that the era's codes of propriety reserved for male discourse, were not in abundant supply in mid-nineteenth-century America.
1840 6. The Hermaphrodite Room, Villa Borghese 7. Ceiling Painting, Villa Borghese 8. Sleeping Hermaphrodite, Villa Borghese 9. Gathering in Newport, Rhode Island, 1852 10. Portrait of Julia Ward Howe, Late 1850s Page xi Acknowledgments Many people and organizations helped me make this book. First, I express gratitude to the National Endowment for the Humanities for a travel to collections grant that made possible my first reading of the Howe Family Papers at Houghton Library. For subsequent support enabling travel to Cambridge, I am grateful to the University of Idaho's Sabbatical Leave Evaluation Committee and to the English Department's Lillian White Fund for Professional Development.