Everyone loves Luce, except for Harriet Wilson
. Played by Octavia Spencer, Harriet is a no-nonsense history teacher who infuses her own worldview into lessons especially those about race and justice much to the annoyance and exhaustion of her students.
, a 68-year-old retiree, was sitting enjoying the warm weather.
Given the significant presence of black people in New Hampshire during the last 300 years, it is truly disappointing that today's public school children (and their parents and grandparents) are unaware that black children and young adults were once sold on the wharf in Portsmouth, that Governor Langdon supported the efforts of George Washington to recover his "runaway property," that Richard Potter was one of the most popular entertainers in America 200 years ago, or that Harriet Wilson
was the first African-American woman in North America to publish a book.
Chapters investigate the literatures of eastern Indian Removal (Nancy Ward, Margaret Ann Scott, Mary Jemison, Lydia Sigourney), deforestation and agricultural environments (Sigourney, Caroline Kirkland, Harriet Jacobs), New England working-class women's varied experience (Lorenza Stevens Berbineau, Harriet Wilson
, Lucy Larcom), simple living and the question of 'respectability' in rural and urban New England (Celia Thaxter, Sarah Orne Jewett, Mary Wilkins Freeman, Pauline Hopkins), and conflicts over resources in the west (Sarah Winnemucca, Maria Amparo Ruiz de Burton, Zitkala-Sa).
Castro Borrego's analysis deals with the tragic mulatto stereotype, following its development throughout three landmarks of nineteenth-century black women's writing: Harriet Wilson
's Our Nig (1859), Harriet Jacobs's Incidents in the Life of a Slave Girl (1861), and Frances W.
Considering the ground-breaking advances in biographical recovery (magisterial biographies of Harriet Jacobs and Pauline Hopkins, and new work on Lucy Terry and Harriet Wilson
come to mind), the only area in which this volume leaves readers wanting more is the story of Potter's life beyond the pages the book covers.
from West Lancashire A: 38 (Christopher Higham, Ben Ritson, Hannah Wilcox, Harriet Wilson
Doriani (1991) examines Harriet Jacobs's and Harriet Wilson
's efforts to negotiate Black female self-definition through typically masculinist narrative structures.
I was completing the work of editing Harriet Wilson
's New England: Race, Writing, and Region even as I was beginning the sort of writing project one undertakes only after attaining institutional security through promotion and tenure: I was combing through an old accordion file box full of class notes, essays, and newspaper clippings from my own mother's days as an English graduate student and instructor at Cornell before her premature death in 1959 when I was only two years old.
This chapter details how these early African American women writers were denied literacy, agency, and access to publication and shows the ongoing efforts of recovering lost or contested narratives, such as Our Nig, by Harriet Wilson
(discovered by Henry Louis Gates, Jr.), as well as Behind the Scenes, or, Thirty Years a Slave and Four Years in the White House, Elizabeth Keckley's contested memoir.
The couples at first seem totally incompatible: Harriet Wilson
with Henry David Thoreau, Walt Whitman with Fanny Fern, and Rebecca Harding Davis with Herman Melville.
Much more than a straightforward document supporting black uplift and condemning northern racism, showing "that slavery's shadows fall even there." Harriet Wilson
's Our Nig (1859) replicates the anticapitalist rhetoric common to proslavery propaganda of the era.