Abstract

All the early advocates of women’s education, male and female, had proposed history as a central subject in women’s education—perhaps as the central subject. They envisaged it as a substitute for novel reading, which they viewed as strengthening women’s mental weakness and encouraging them in unrepublican habits of idleness, extravagance, and daydreaming.6 Many prominent women educators wrote history, among them Pierce, Rowson, and Willard. But besides such history writing and history advocacy by materialist educational reformers, American women wrote history in other modes and contexts, and it is on these that I want to focus now.Speculating on history as a woman’s writing practice from the earliest years of the republic, my approach is purely literary in taking for granted, but considering it unimportant, that by present-day standards none of these women could have been “good” historians. More generally, I supposed that insofar as our present-day definition of literature or, more generally, of writing, invokes such forms as poem, play, story, and novel—and insofar as the feminist enterprise of recovering women’s writing further emphasizes such private, putatively unpublished forms as journal, diary, and letters—we have been instructed to perceive women writers as largely sealed off from public discourse, writing from somewhere outside the public sphere. This currently dominant view of women’s writing may be an inadvertent artifact of an unself-conscious, individualistic, curiously romantic definition of writing even among postmodernist critics; or, it may be a strategic view designed to focus attention on and valorize previously silenced or presently new forms of utterance. In contrast, to encompass diverse, already published, programmatically public instances of women’s writing in our definition is to begin to see how often and how openly American women have written in such forms. We then begin to recover a different sort of writing woman from the madwoman in the attic and acquire materials with which to begin constructing a different narrative of American women’s literary history. Nina Baym is Jubilee Professor of Liberal Arts and Sciences at the University of Illinois, Urbana. She is the author of many books and articles on American and feminist literary topics