By Gary Williams
Hungry center reexamines the early literary profession of Julia Ward Howe (1819-1910), top remembered because the writer of "The conflict Hymn of the Republic." Combining biographical narrative with textual research, Gary Williams reconstructs Howe's emergence as a author opposed to the backdrop of her deeply bothered marriage to Boston philanthropist Samuel Gridley Howe. between her early writings, Williams can pay specific consciousness to Passion-Flowers, a celebrated but arguable quantity of poems released in 1854, in addition to to an unpublished 400-page tale that includes a hermaphrodite as its protagonist. Williams exhibits how this latter paintings, startling in its daring exploration of sexual ambiguities, displays Howe's attempt to come back to phrases together with her husband's intimate attachment to the popular abolitionist Charles Sumner.
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Extra resources for Hungry heart: the literary emergence of Julia Ward Howe
If expression brought other difficulties, other hungers, it brought also the self-assurance that empowered her to cope with these and that prepared her to be the formidable champion of women's rights that she became in later life. A word about modes of reference to the principal characters in this narrative. My standard identifying term for Julia Ward Howe is "Howe," except in references to the period before her marriage (where she is "Julia" or "Julia Ward"). However, when it is necessary to distinguish between her and her husband in passages referring to both, I sometimes refer to her as "Julia" and to Samuel Gridley Howe as ''Chev," the nickname used by Julia and her sisters.
Clifford, of course, drew on these materials, but from the position of a biographer confronted with the task of condensing a very long and rich life into manageable proportions. Julia Ward Howe lived to be ninety-one years old; she died in 1910 and enjoyed intellectual vitality until very near the end of her life. Clifford's comprehensive focusand perhaps, too, her interest in the work Howe accomplished in her later decadesresulted in an abridged account of Howe's early married years and the period in which her hopes for a literary career gathered force.
The piece begins by recognizing the inadequacy of even the finest translations to provide the experience offered by the originals. Poems are flowers: each climate produces its peculiar blooms, and those of one region cannot survive in another. " Schiller, she felt, was well served by the translations Dwight had secured. " Still, Dwight is praised for making the work available (closer acquaintance with "the two greatest bards of Germany," she avers, will favorably influence America's own poets), and the collection offers the occasion to speculate on the particular cast of mind of each writer.