In the wake of the Civil War, Constance Fenimore Woolson became one of the first northern observers to linger in the defeated states from Virginia to Florida. Born in New Hampshire in 1840 and raised in Ohio, she was the grandniece of James Fenimore Cooper and was gaining success as a writer when she departed in 1873 for St. Augustine. During the next six years, she made her way across the South and reported what she saw, first in illustrated travel accounts and then in the poetry, stories, and serialized novels that brought unsettled social relations to the pages of "Harper's Monthly," the "Atlantic," "Scribner's Monthly," "Appletons' Journal," and the "Galaxy." In the midst of Reconstruction and in print for years to come, Woolson revealed the sharp edges of loss, the sharper summons of opportunity, and the entanglements of northern misperceptions a decade before the waves of well-heeled tourists arrived during the 1880s.

This volume's sixteen essays are intent on illuminating, through her example, the neglected world of Reconstruction's backwaters in literary developments that were politically charged and genuinely unpredictable. Drawing upon the postcolonial and transnational perspectives of New Southern Studies, as well as the cultural history, intellectual genealogy, and feminist priorities that lend urgency to the portraits of the global South, this collection investigates the mysterious, ravaged territory of a defeated nation as curious northern readers first saw it.

Before the Civil War, American writers such as Catharine Maria Sedgwick and Harriet Beecher Stowe had established authorship as a respectable profession for women. But though they had written some of the most popular and influential novels of the century, they accepted the taboo against female writers, regarding themselves as educators and businesswomen. During and after the Civil War, some women writers began to challenge this view, seeing themselves as artists writing for themselves and for posterity.

"Writing for Immortality" studies the lives and works of four prominent members of the first generation of American women who strived for recognition as serious literary artists: Louisa May Alcott, Elizabeth Stuart Phelps, Elizabeth Stoddard, and Constance Fenimore Woolson. Combining literary criticism and cultural history, Anne E. Boyd examines how these authors negotiated the masculine connotation of "artist," imagining a space for themselves in the literary pantheon. Redrawing the boundaries between male and female literary spheres, and between American and British literary traditions, Boyd shows how these writers rejected the didacticism of the previous generation of women writers and instead drew their inspiration from the most prominent "literary" writers of their day: Emerson, James, Barrett Browning, and Eliot.

Placing the works and experiences of Alcott, Phelps, Stoddard, and Woolson within contemporary discussions about "genius" and the "American artist," Boyd reaches a sobering conclusion. Although these women were encouraged by the democratic ideals implicit in such concepts, they were equally discouraged by lingering prejudices about their applicability to women.

"Wielding the Pen" presents a wide spectrum of nineteenth-century American women's writings on the themes of authorship and creativity. These works reflect the fears, desires, and motivations of female authors, as well as the opportunities and obstacles they encountered as professional writers.

Anne E. Boyd includes representative samples from a diverse range of writers. These writings, some of which are reprinted here for the first time, challenge prevailing notions about women and authorship in the nineteenth century and shed light on the relationship between women's lives as writers and their evolving roles in the larger, male-dominated literary community.

Boyd uses these essays, letters, poetry, fiction, and reviews to examine varied experiences of authorship. Here are the voices of women writers speaking about the hardships and rewards of authorship, responding to male critics, and encouraging and warning young, aspiring writers who would join them in the ranks of professional writing.

Boyd's introduction places the views of female writers on authorship into historical perspective, and brief biographical and critical sketches of each author and their work are also included. The texts are presented chronologically and are indexed by author, genre, theme, and region.

This anthology of primary materials--the words of American women writers on the act of authorship and their participation in the literary cultures of the nineteenth century-- offers revealing insight into Hawthorne's "damned mob of scribbling women."