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Synopsis
A renowned literary coterie in 18th-century Philadelphia - Elizabeth Fergusson, Hannah Griffitts, Deborah Logan, Annis Stockton, and Susanna Wright - wrote and exchanged thousands of poems and maintained elaborate handwritten commonplace books of memorabilia. Through their creativity and celebrated hospitality, they initiated a salon culture in their great country houses in the Delaware Valley. In this heavily illustrated book, Susan M. Stabile shows that these female writers sought to memorialize their lives and aesthetic experience - a purpose that stands in marked contrast to the civic concerns of male authors in the republican era. Drawing equally on material culture and literary history, Stabile discusses how the group used their writings to explore and at times replicate the arrangement of their material possessions, including desks, writing paraphernalia, mirrors, miniatures, beds and coffins. As she reconstructs the poetics of memory that informed the women's lives and structured their manuscripts, Stabile focuses on vernacular architecture, penmanship, souvenir collecting and mourning.Empirically rich and nuanced in its readings of different kinds of artefacts, this work tells of the erasure of the women's lives from the national memory as the feminine aesthetic of scribal publication was overshadowed by the proliferating print culture of late 18th-century America.
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First Sentence
Longing for her childhood home, which formerly stood at Fourth and Chestnut Streets in Philadelphia, Deborah Norris Logan writes in her diary in 1830: "Dreaming took its turn, not connected nor sensible, but very vivid, depicting clearly the old house, and the associations known in childhood, which though they have no longer a local habitation, my spirit still haunts. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
Longing for her childhood home, which formerly stood at Fourth and Chestnut Streets in Philadelphia, Deborah Norris Logan writes in her diary in 1830: "Dreaming took its turn, not connected nor sensible, but very vivid, depicting clearly the old house, and the associations known in childhood, which though they have no longer a local habitation, my spirit still haunts. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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