Dear friends and readers,
I almost made a Freudian slip and typed as the the title of Goodman’s bok, Becoming a Woman of Letters in the 18th century, for that is what this book is about. It’s just the book I needed to put together a paper on Anne Grant, Elizabeth Grant Smith and if not Anne Home Hunter, Anne Radcliffe — who also wrote a journal book and left a journal-diary whose entries are letter-like. I may substitute Radcliffe for Anne Home Hunter if my emphasis moves from Scots women to women forging connections as such. Naturally,I recommend it.
The cover picture of Goodman’s book is the same tired image I’ve seen on so many 18th century books about French women, Adelaide Labille-Guiard‘s Portrait of a Woman, so despite its appropriateness and lovely colors,
I led with a much less familiar image of a woman avidly reading — as if her life depended upon this.
A review of Goodman’s book appeared in the latest issue of Eighteenth-Century Studies, 48:4 (546-47). I want to emphasize from Aurora Wolfgang’s brief account, that writing was for women of the 18th into 19th century “a transformational practice,” where they both developed a consciousness for themselves (an identity we might say) and spoke to both private and public worlds out of their own private world (writing self) and public knowledge. Goodman debunks the stereotype of women as reading and writing love letters primarily; she developed her role as a teacher, mother and legitimized active participation and autonomy. The writing desk, her closet, the learning what are one’s innermost thoughts through the use of language, using reason, knowledge (her reading), and sensibility. Sensibility is only one part of this even if this is a “gendered sense of subjectivity.”
Goodman covers the manufacture of supply too: pens, paper, furniture for the modern person (like a desk), books of illustrations to study.
The writer and reader reached out to embed themselves in social networks of friends and family and book illustrations too.
Elizabeth Shippen Green (1871-1954) — and woman illustrator
Goodman analyzes over a 100 such illustrations; her central women writers are Genevieve de Malboissiére, Manon Phlipon, Catherine de Saint-Pierre, and Sophie Silvestre.
A small connection which may seem foolish but is a defense of good historical. In Graham’s Poldark novels when Demelza learns to write and uses her skill to connect Verity to Blamey, to communicate with others, to be herself, she is enacting what Goodman claims for women of this era. I regret to say I’ve not been able to locate any snaps or stills of Eleanor Tomlinson teaching herself to read (they are probably fleeting). These are taken from Graham’s book. What is emphasized in both historical films is Demelza teaching herself to play the piano. Reading is still a suspect activity?
I’ve bought the book used from Amazon, and await its arrival eagerly.