As I mentioned in my last post, Eliza's mockery of poor Mr. Webster--the singer whose grimaces had given him the appearance of someone "labouring under the operation of a strong Emetic"--was to come back to haunt her.
Actually, it was some renewed mockery that started the trouble. In October--some months after his performance at Mr. Nenninger's concert--Mr. Webster had the temerity to perform again. In a review of this second performance in the Observer, Eliza proved herself no more impressed than she'd been in June. "When he sings," she wrote, "his face and figure remind one of the melancholy spectacle of a creature in the agonies of convulsion." His voice was actually not bad, she allowed; "but ... when with his hideous grimaces he treats us to the wretched caricature of an ape ... it is impossible ... to listen to him without disgust."
This ridicule proved too much for Webster to bear with equanimity. Three days later, what was apparently a paid notice ran in the Federal Gazette and Baltimore Daily Advertiser, signed W.H. Webster. Headed "To the Public," the notice accused "Beatrice Ironside" (Eliza's pen name) of attempting to extort money from him in exchange for a favorable review. Webster claimed that he'd received a letter, signed by "Beatrice," warning him that "in the course of the theatrical season many attempts will be made to injure you, by means of newspaper criticisms." The letter suggested that "a weekly publication"--unnamed, but its address given as the same as that of the Observer's printer--might be helpful in this connection by defending Webster against any such attacks. The alleged letter ended, according to Webster, with the words "`The subscription is five dollars a year; the paper is circulated all over the continent,' &c &c."
I say "alleged" because, although Webster purported to quote from the letter, he had, to his great regret, "mislaid" it. He explained this oversight by saying that it "was impossible to foresee that an accomplished lady ... could have behaved thus," but he offered to swear out an affidavit for anyone who doubted his word. (Webster's notice also sheds light on what an open secret Beatrice Ironside's identity was: Webster says that when he first heard about the review, "I inquired who wrote it? and was answered Mrs. A___." Actually, not even Beatrice's name appeared on the review, which was unsigned. But apparently everyone--everyone but Webster--knew exactly who had written it.)
Two days later the Gazette ran another notice, this one headed "Mr. Webster," and unsigned. Referring to "Beatrice"in the third person, this notice vigorously denied that she had ever "solicited, personally or by letter [anyone] to become a subscriber." The author expressed mock surprise that so "singular an application" as the alleged letter addressed to Webster "should not have been thought worth preserving." This is all the more remarkable, she says, considering that "Mistress Beatrice" had already trashed Webster's singing style in that review back in June--a review which she now took occasion to quote from liberally. She concluded, "That the known and acknowledged writer of these remarks should offer to become the champion of the gentleman who was their object, is so original a circumstance that it is really a matter of surprize Mr. Webster should have been so careless in preserving its proof."
This notice ran for two more days, and on the third day was accompanied by a response from Webster. He had seen a "contradiction of his assertion" about the editor of the Observer in the paper, he said; "but as it is anonymous, I shall certainly not make the slightest reply to it." Webster's response was, to say the least, disingenuous; the following sentence indicates that he knew very well who had written it. (I'll explain in another post what that remark was.)
Eliza, not to be outdone, ran her own notice for a fourth day--this time signed "BEATRICE IRONSIDE." Webster, as far as I can tell, was not heard from again--at least not in print.
What to make of this unedifying dispute? Certainly Eliza was unkind in her criticism of Webster's singing style, but it's the prerogative of critics to be unkind. And apparently she wasn't alone in her distaste for Webster: in his notice in the newspaper, he remarks that "Beatrice is not sorry I did not subscribe; for no doubt she has made more by her scurrilous stuff than the five dollars she applied for--as all my enemies (with whom she seems to be so well acquainted) if not already, will soon become subscribers to the `Observer.'" Webster has a point: no doubt this public contretemps, like others occasioned by Eliza's sometimes vicious satire, was good for business.
And, while it's possible that Eliza really did solicit a subscription from Webster, Webster here makes a pretty good argument against that possibility: why should she care so much about one subscription when she could probably do better by continuing to lambaste Webster? Not to mention Eliza's own suggestion that, given her previous criticism of him, it seems unlikely that she would have offered to refute attacks on Webster by others. At the very least, such a defense would have looked a little suspicious.
But one thing that's interesting to note here are the little digs at Eliza's unladylike behavior--which I'll allude to more in my next post. Ultimately Eliza came to believe that much of the animus against her was motivated by those who found the idea of a woman editor outrageous. As this episode illustrates, that's certainly not the whole story: the mockery and scorn she expressed in print would probably have also led to conflicts had they been offered up by a male editor. But the fact that she was a woman does appear to have intensified the reaction against her. And, as we shall see, her scandalous extracurricular activities definitely didn't help.
Saturday, July 24, 2010
Monday, July 5, 2010
Mr. Neninnger's Concert
In her arts criticism for the magazine she edited in Baltimore in 1807--the Observer--Eliza Anderson frequently sounded two themes: the superior taste and appreciation for the arts exhibited in Europe, and the inferiority of homegrown, often amateur, artists. Neither of these themes enhanced her popularity with her fellow Baltimoreans.
In a review of a concert published in the Observer in early May 1807, Anderson praises a violinist from Germany--a Mr. Neninnger--but laments that his skill “will be buried like that of so many other Europeans, who vegetate here already, to our shame and our detriment, whilst every where else, in ordinary times, it would have been not only welcomed but purchased at the highest price, by governments, and nations, who would have been jealous of doing honour to their age, by these elegant and agreeable ameliorations."
Baltimore, Anderson complained, had "neither large theatres; nor church choirs; nor subscription concerts; nor military music; nor national academies, where exiled talent, might be kept alive by emulation, might receive those honors which are the vital principles of genius, and find resource against indigence and want!” Poor Neninnger would no doubt be reduced to "the hateful, the killing task, which is death to all genius, of teaching brats without ear or attention: E, F, G, A, B, C, D!” The attitude of Baltimoreans on this subject was nothing more than "Vandalism," rendering the city "the very Siberia of the arts."
But there was a glimmer of hope on the bleak horizon: Mr. Neninnger was to give a concert on May 26, assisted by "the distinguished musicians of our city." On June 6 we learn, from Anderson, that the concert has been postponed--owing, she says, to "opposition and delay" and some "little intrigues which retarded it." But these setbacks have had the happy effect of stirring up interest in the concert: there have been "some articles in the papers, which have piqued the curiosity of some, and the self love of others." A "great number of tickets" had been sold.
This very fact was then used by another journalist to refute Anderson's "Siberia" claim: if that many tickets had been sold, could Baltimore really be a cultural wasteland? Yes indeed, Anderson answered--with, if anything, increased vehemence. She seems to be arguing that one concert does not a cultural connoisseur make. But then she embarks on a flight of antidemocratic rhetoric that seems to have only a vague connection to the matter at hand, denouncing those who would accord equal merit to "artists" and "mechanics" (the latter presumably being more prevalent in Baltimore than the former). In a passage quoted in part in Gordon Wood's Empire of Liberty, Anderson writes, “We regret ... to announce to these levellers, who would place in the same rank, the engineer with the labourer who carries the mortar, and the poet with the manufacturer of the paper on which he writes the productions of his genius, that in Parnassus, this equality, which can only reign in taverns on electioneering days, but at no other time, does not exist–the Muses are rather saucy, and do not admit workmen to their levees.”
At last the date of the much anticipated concert arrives--and needless to say, Anderson reviews it in the pages of the Observer. Mr. Neninnger, the German violinist, did not disappoint, and Anderson praised both the professional musicians who performed and the "ablest amateurs of our city." But, not surprisingly, she found much to criticize as well. The orchestra's attempt at military marches only demonstrated "how truly we are pacific. A kettle on one side, a pair of tongs on another; these were the substitutes they were obliged to use, to serve as kettle drums, cymbals, and the triangle!"
But Anderson's most biting criticism was reserved for the unfortunate "Mr. Webster," an amateur singer. While Anderson praised his voice, she was less taken with his demeanor: "...[I]t is really to be desired that he would not distort his features with the horrible grimaces he makes whilst singing ... and that in his trills he would not assume the appearance of gargling his throat with his notes ... in viewing the contortions of his body, and the contraction of his muscles ... our imagination has always presented us the agreeable idea, of a man labouring under the operation of a strong emetic."
Anderson then turns to the subject of painting--discussing the relative merits of the artists Guy and Groombridge, which I mentioned in a previous post. Again she bemoans the lack of appreciation for the arts in Baltimore.
Shortly after this article appeared, another writer took up the same theme in the Baltimore Federal Gazette. While essentially echoing Anderson's point about Baltimore's cultural failings--and even extending that point to the entire country--the author also took pains to distance himself (or possibly herself) from some of Anderson's more vehement statements: “Do not misunderstand me, sir," the author writes to the newspaper's editor. "I am not about to join in the ungracious attempt to stigmatise my dear Columbia, as hostile to the arts. I will not call her sons Vandals, nor denounce this terrtory [sic] as a cold Sibera [sic], where the best plants sicken and die. No, I value the intelligence of [her] citizens at a higher rate, and I esteem her climate and her soil, as of a kinder nature.”
Despite the fact that the letter-writer essentially agreed with her, Anderson devoted four pages of the next issue of the Observer to ridiculing and attacking him (and let's assume, since it was probably true, that the author was a "him"). She particularly objected to the letter-writer signing himself "An American," which she took as a dig at her own patriotism. Does he mean, she asked rhetorically, “that all those, who do not take Philadelphia for London, New-York for Paris, Washington for Rome, and Baltimore for Athens, are unpatriotic citizens, and stigmatisers of Columbia?" (At the end of this diatribe Anderson says, perhaps a bit disingenuously, that she didn't mean to "say any thing unpleasant to the author" of the letter.)
The following week--July 4, no less--Anderson gleefully takes up the gauntlet once again. This time one "C," whom she describes as a "Grub-street critic," has launched against her what she describes as a "virulent attack." Alas, the attack itself has not survived, but apparently "C" took issue with Anderson's criticism of the orchestra at Mr. Neninnger's concert. Taking her sarcasm literally, "C" has pointed out that in fact the kettle drums were not kettles, but actual drums, and so on. An exasperated Anderson explains that she had been speaking metaphorically: the kettle drum was cracked, and the cymbals and triangle didn't emit the desired silvery sound. She defends her right to employ ridicule, which, she says, "alone ... corrects mankind, because self-love speaks much more forcibly to the mind that either right or reason."
Ah but, she then says with her usual dramatic flourish, if she must recant she will--and then launches into a mock celebration of American culture quite similar to the one she had embarked on a week before, adding, "Shall I praise the yellow fever too; for this is also a production of the Country..."
As always, it's hard to tell where the mockery--and the desire to sell copies of the Observer--leaves off and where the genuine outrage begins. But what is clear is that Anderson's critiques touched a nerve. The United States was still an infant country and very much aware that it was looked down upon by Europeans.
Now, in this era of American cultural supremacy, it can be difficult to understand what a sensitive issue this was in the early 19th century. Yes, even nowadays every once in a while some highbrow in France or England may make a disparaging remark about American culture, but given the dominance of American pop music, movies, and even "high culture," nobody really takes it too seriously. (And the French, with their love of Mickey Mouse and Jerry Lewis, don't really have a leg to stand on in critiquing American culture.) But in the late 18th and early 19th century, there was enough truth to the criticism that these would have been fighting words. America, and perhaps especially Baltimore, was a rough, raw, new society that was more concerned with getting and spending than with cultivating or appreciating the arts.
From what I've seen in contemporary (and some secondary) sources, this led to something of a schizoid reaction. There were those, like Eliza Anderson, who responded with scorn for all things (or many things) American and veneration for all (or most) things European. Baltimore's wealthy families yearned to marry their daughters off to European aristocrats--and some of them succeeded. Baltimoreans traveling in Europe were besieged with requests from people back home for fine fabrics and china (complete with European-style family crests) that were considered superior to what could be obtained on this side of the Atlantic. Anderson's letters, and those of many of her friends and contemporaries (particularly Betsy Bonaparte) are scathing in their ridicule of what passed for sophistication and entertainment in early Baltimore. Despite the fact that we'd only recently fought a revolution that rejected aristocracy, anyone with a "title"--no matter how idiotic or impoverished--commanded instant respect from this crowd.
But there were others who responded with a fierce pride in what they saw as American genuineness and lack of affectation. For these observers, Europe was corrupt and decadent, and America's very rawness was a virtue. And while Anderson may have had her supporters in the first crowd, it was this second group that was riled by her criticism--although, it seems, not always quite as riled as Anderson portrayed them.
But Anderson's criticism of poor Mr. Webster--the grimacing singer at Mr. Neninnger's concert--was soon to lead to an even more vitriolic, and personal, dispute.
In a review of a concert published in the Observer in early May 1807, Anderson praises a violinist from Germany--a Mr. Neninnger--but laments that his skill “will be buried like that of so many other Europeans, who vegetate here already, to our shame and our detriment, whilst every where else, in ordinary times, it would have been not only welcomed but purchased at the highest price, by governments, and nations, who would have been jealous of doing honour to their age, by these elegant and agreeable ameliorations."
Baltimore, Anderson complained, had "neither large theatres; nor church choirs; nor subscription concerts; nor military music; nor national academies, where exiled talent, might be kept alive by emulation, might receive those honors which are the vital principles of genius, and find resource against indigence and want!” Poor Neninnger would no doubt be reduced to "the hateful, the killing task, which is death to all genius, of teaching brats without ear or attention: E, F, G, A, B, C, D!” The attitude of Baltimoreans on this subject was nothing more than "Vandalism," rendering the city "the very Siberia of the arts."
But there was a glimmer of hope on the bleak horizon: Mr. Neninnger was to give a concert on May 26, assisted by "the distinguished musicians of our city." On June 6 we learn, from Anderson, that the concert has been postponed--owing, she says, to "opposition and delay" and some "little intrigues which retarded it." But these setbacks have had the happy effect of stirring up interest in the concert: there have been "some articles in the papers, which have piqued the curiosity of some, and the self love of others." A "great number of tickets" had been sold.
This very fact was then used by another journalist to refute Anderson's "Siberia" claim: if that many tickets had been sold, could Baltimore really be a cultural wasteland? Yes indeed, Anderson answered--with, if anything, increased vehemence. She seems to be arguing that one concert does not a cultural connoisseur make. But then she embarks on a flight of antidemocratic rhetoric that seems to have only a vague connection to the matter at hand, denouncing those who would accord equal merit to "artists" and "mechanics" (the latter presumably being more prevalent in Baltimore than the former). In a passage quoted in part in Gordon Wood's Empire of Liberty, Anderson writes, “We regret ... to announce to these levellers, who would place in the same rank, the engineer with the labourer who carries the mortar, and the poet with the manufacturer of the paper on which he writes the productions of his genius, that in Parnassus, this equality, which can only reign in taverns on electioneering days, but at no other time, does not exist–the Muses are rather saucy, and do not admit workmen to their levees.”
At last the date of the much anticipated concert arrives--and needless to say, Anderson reviews it in the pages of the Observer. Mr. Neninnger, the German violinist, did not disappoint, and Anderson praised both the professional musicians who performed and the "ablest amateurs of our city." But, not surprisingly, she found much to criticize as well. The orchestra's attempt at military marches only demonstrated "how truly we are pacific. A kettle on one side, a pair of tongs on another; these were the substitutes they were obliged to use, to serve as kettle drums, cymbals, and the triangle!"
But Anderson's most biting criticism was reserved for the unfortunate "Mr. Webster," an amateur singer. While Anderson praised his voice, she was less taken with his demeanor: "...[I]t is really to be desired that he would not distort his features with the horrible grimaces he makes whilst singing ... and that in his trills he would not assume the appearance of gargling his throat with his notes ... in viewing the contortions of his body, and the contraction of his muscles ... our imagination has always presented us the agreeable idea, of a man labouring under the operation of a strong emetic."
Anderson then turns to the subject of painting--discussing the relative merits of the artists Guy and Groombridge, which I mentioned in a previous post. Again she bemoans the lack of appreciation for the arts in Baltimore.
Shortly after this article appeared, another writer took up the same theme in the Baltimore Federal Gazette. While essentially echoing Anderson's point about Baltimore's cultural failings--and even extending that point to the entire country--the author also took pains to distance himself (or possibly herself) from some of Anderson's more vehement statements: “Do not misunderstand me, sir," the author writes to the newspaper's editor. "I am not about to join in the ungracious attempt to stigmatise my dear Columbia, as hostile to the arts. I will not call her sons Vandals, nor denounce this terrtory [sic] as a cold Sibera [sic], where the best plants sicken and die. No, I value the intelligence of [her] citizens at a higher rate, and I esteem her climate and her soil, as of a kinder nature.”
Despite the fact that the letter-writer essentially agreed with her, Anderson devoted four pages of the next issue of the Observer to ridiculing and attacking him (and let's assume, since it was probably true, that the author was a "him"). She particularly objected to the letter-writer signing himself "An American," which she took as a dig at her own patriotism. Does he mean, she asked rhetorically, “that all those, who do not take Philadelphia for London, New-York for Paris, Washington for Rome, and Baltimore for Athens, are unpatriotic citizens, and stigmatisers of Columbia?" (At the end of this diatribe Anderson says, perhaps a bit disingenuously, that she didn't mean to "say any thing unpleasant to the author" of the letter.)
The following week--July 4, no less--Anderson gleefully takes up the gauntlet once again. This time one "C," whom she describes as a "Grub-street critic," has launched against her what she describes as a "virulent attack." Alas, the attack itself has not survived, but apparently "C" took issue with Anderson's criticism of the orchestra at Mr. Neninnger's concert. Taking her sarcasm literally, "C" has pointed out that in fact the kettle drums were not kettles, but actual drums, and so on. An exasperated Anderson explains that she had been speaking metaphorically: the kettle drum was cracked, and the cymbals and triangle didn't emit the desired silvery sound. She defends her right to employ ridicule, which, she says, "alone ... corrects mankind, because self-love speaks much more forcibly to the mind that either right or reason."
Ah but, she then says with her usual dramatic flourish, if she must recant she will--and then launches into a mock celebration of American culture quite similar to the one she had embarked on a week before, adding, "Shall I praise the yellow fever too; for this is also a production of the Country..."
As always, it's hard to tell where the mockery--and the desire to sell copies of the Observer--leaves off and where the genuine outrage begins. But what is clear is that Anderson's critiques touched a nerve. The United States was still an infant country and very much aware that it was looked down upon by Europeans.
Now, in this era of American cultural supremacy, it can be difficult to understand what a sensitive issue this was in the early 19th century. Yes, even nowadays every once in a while some highbrow in France or England may make a disparaging remark about American culture, but given the dominance of American pop music, movies, and even "high culture," nobody really takes it too seriously. (And the French, with their love of Mickey Mouse and Jerry Lewis, don't really have a leg to stand on in critiquing American culture.) But in the late 18th and early 19th century, there was enough truth to the criticism that these would have been fighting words. America, and perhaps especially Baltimore, was a rough, raw, new society that was more concerned with getting and spending than with cultivating or appreciating the arts.
From what I've seen in contemporary (and some secondary) sources, this led to something of a schizoid reaction. There were those, like Eliza Anderson, who responded with scorn for all things (or many things) American and veneration for all (or most) things European. Baltimore's wealthy families yearned to marry their daughters off to European aristocrats--and some of them succeeded. Baltimoreans traveling in Europe were besieged with requests from people back home for fine fabrics and china (complete with European-style family crests) that were considered superior to what could be obtained on this side of the Atlantic. Anderson's letters, and those of many of her friends and contemporaries (particularly Betsy Bonaparte) are scathing in their ridicule of what passed for sophistication and entertainment in early Baltimore. Despite the fact that we'd only recently fought a revolution that rejected aristocracy, anyone with a "title"--no matter how idiotic or impoverished--commanded instant respect from this crowd.
But there were others who responded with a fierce pride in what they saw as American genuineness and lack of affectation. For these observers, Europe was corrupt and decadent, and America's very rawness was a virtue. And while Anderson may have had her supporters in the first crowd, it was this second group that was riled by her criticism--although, it seems, not always quite as riled as Anderson portrayed them.
But Anderson's criticism of poor Mr. Webster--the grimacing singer at Mr. Neninnger's concert--was soon to lead to an even more vitriolic, and personal, dispute.
Thursday, June 24, 2010
The Siberia of the Arts
As I mentioned in my last post, one reason Eliza Anderson undertook the editorship of a weekly publication in Baltimore was to raise the level of culture in her hometown, which she appears to have considered a backwater of tackiness and bad taste. (I'm not even going to speculate on what she would think of John Waters!)
So here we have one of those paradoxes that history often presents us with: On the one hand, Anderson is a feminist pioneer, probably the first woman in the United States to edit a magazine. But on the other hand, she's a reactionary defender of "high culture," ridiculing the nouveau riche merchants who don't know their Corinthian columns from their Ionic. As I've discovered in the course of researching other historical figures, actions that we moderns consider "progressive" don't always go hand-in-hand with opinions we ourselves would embrace. The past is complicated, and the people who lived there have to be seen in the context of their times--not through the prism of our 21st-century assumptions.
Anderson's efforts to raise Baltimore's cultural tone, heavily laced with her acid brand of sarcasm, frequently got her in trouble. She started out optimistically enough, writing in the February 7, 1807, issue of The Observer that she planned to "awaken taste ... convinced that our sensible readers will welcome instruction though in the garb of severity." Uh huh.
A couple of weeks later, she's ridiculing a Baltimore builder who admired the new Gothic chapel built by St. Mary's College (and designed by Anderson's future husband) and said that he planned to build one just like it, "but that he would not have pointed windows." (For those who never took art history, pointed windows are a hallmark of the Gothic style.)This solecism was still bothering her in November, when she brought it up again. But, she laments in another column, such things are only to be expected in a place like Baltimore, where "you see columns placed in niches like statues" and "fine houses with steps like a hay loft."
The sins of the tasteless nouveau riche were perhaps most evident in architecture, but Anderson carried her culture crusade into other branches of the arts as well. In June she weighed in on the relative merits of two artists who were having a sort of joint exhibition in Baltimore. While she bemoaned the fact that both artists had been reduced to the indignity of selling their paintings by lottery (one of her frequent themes was the lack of support for starving artists in Baltimore), she made it clear that she thought William Groombridge, who had been formally trained, was far superior to Francis Guy, a self-taught working man whose background was as a tailor and dyer. Anderson lamented that Guy “from want of encouragement reduced to the necessity of making coats and pantaloons ... has not had it in his power to cultivate his talent, nor has he made a single striking step in the art.” Whereas Groombridge, she thought, was a true artist. In fact, the judgment of history has been quite the opposite: Groombridge has been forgotten, while Guy has been praised for his vigorous American primitivism--his paintings of Brooklyn were the subject of a special exhibition at the Brooklyn Museum a few years ago.
But Anderson was, as I have hinted, something of an elitist. Indeed, Anderson's scoffing at Guy and those of his ilk has earned her the dubious honor of a mention in Gordon Wood's magisterial new history of the early Republic, Empire of Liberty. "Anderson," writes Wood, "could not get over the American tendency to believe that mere artisans--tailors and carpenters--could pretend to a taste in painting." Quoting something Anderson wrote in the leading Baltimore newspaper of the time, Wood ridicules her short-sightedness: "Apollo is somewhat aristocratic," Wood has her claiming, "and does not permit of perfect equality in his court ... The Muses are rather saucy, and do not admit of workmen to their levees." Guy, she wrote, should return to his "soul-inspiring avocation of making pantaloons." And just to top things off, Anderson referred to Baltimore as "the Siberia of the arts." (Wood mentions that Anderson was "a female editor," but doesn't seem to find anything remarkable about that fact.)
As we shall see, that "Siberia" remark raised the hackles of some Baltimoreans (or should I say,as Anderson might, "Baltimorons"?)--as did Anderson's scathing criticism of some local musical performances.
So here we have one of those paradoxes that history often presents us with: On the one hand, Anderson is a feminist pioneer, probably the first woman in the United States to edit a magazine. But on the other hand, she's a reactionary defender of "high culture," ridiculing the nouveau riche merchants who don't know their Corinthian columns from their Ionic. As I've discovered in the course of researching other historical figures, actions that we moderns consider "progressive" don't always go hand-in-hand with opinions we ourselves would embrace. The past is complicated, and the people who lived there have to be seen in the context of their times--not through the prism of our 21st-century assumptions.
Anderson's efforts to raise Baltimore's cultural tone, heavily laced with her acid brand of sarcasm, frequently got her in trouble. She started out optimistically enough, writing in the February 7, 1807, issue of The Observer that she planned to "awaken taste ... convinced that our sensible readers will welcome instruction though in the garb of severity." Uh huh.
A couple of weeks later, she's ridiculing a Baltimore builder who admired the new Gothic chapel built by St. Mary's College (and designed by Anderson's future husband) and said that he planned to build one just like it, "but that he would not have pointed windows." (For those who never took art history, pointed windows are a hallmark of the Gothic style.)This solecism was still bothering her in November, when she brought it up again. But, she laments in another column, such things are only to be expected in a place like Baltimore, where "you see columns placed in niches like statues" and "fine houses with steps like a hay loft."
The sins of the tasteless nouveau riche were perhaps most evident in architecture, but Anderson carried her culture crusade into other branches of the arts as well. In June she weighed in on the relative merits of two artists who were having a sort of joint exhibition in Baltimore. While she bemoaned the fact that both artists had been reduced to the indignity of selling their paintings by lottery (one of her frequent themes was the lack of support for starving artists in Baltimore), she made it clear that she thought William Groombridge, who had been formally trained, was far superior to Francis Guy, a self-taught working man whose background was as a tailor and dyer. Anderson lamented that Guy “from want of encouragement reduced to the necessity of making coats and pantaloons ... has not had it in his power to cultivate his talent, nor has he made a single striking step in the art.” Whereas Groombridge, she thought, was a true artist. In fact, the judgment of history has been quite the opposite: Groombridge has been forgotten, while Guy has been praised for his vigorous American primitivism--his paintings of Brooklyn were the subject of a special exhibition at the Brooklyn Museum a few years ago.
But Anderson was, as I have hinted, something of an elitist. Indeed, Anderson's scoffing at Guy and those of his ilk has earned her the dubious honor of a mention in Gordon Wood's magisterial new history of the early Republic, Empire of Liberty. "Anderson," writes Wood, "could not get over the American tendency to believe that mere artisans--tailors and carpenters--could pretend to a taste in painting." Quoting something Anderson wrote in the leading Baltimore newspaper of the time, Wood ridicules her short-sightedness: "Apollo is somewhat aristocratic," Wood has her claiming, "and does not permit of perfect equality in his court ... The Muses are rather saucy, and do not admit of workmen to their levees." Guy, she wrote, should return to his "soul-inspiring avocation of making pantaloons." And just to top things off, Anderson referred to Baltimore as "the Siberia of the arts." (Wood mentions that Anderson was "a female editor," but doesn't seem to find anything remarkable about that fact.)
As we shall see, that "Siberia" remark raised the hackles of some Baltimoreans (or should I say,as Anderson might, "Baltimorons"?)--as did Anderson's scathing criticism of some local musical performances.
Wednesday, June 9, 2010
Torn in Pieces by Merciless Hounds
Should any reader of this blog want to read the story of Eliza Anderson and "The Observer" in a less staccato--and more scholarly--format, I'd like to announce that an article I wrote about her will be published in the Summer 2010 issue of Maryland Historical Magazine, a publication of the Maryland Historical Society. Alas, while back issues are online, current issues are available online only to subscribers. But I imagine interested non-subscribers could procure a hard copy version. And if you wait long enough, even you non-subscribers should be able to see it online.
So, where were we? Ah yes, Eliza has recently come out of the closet as a female editor, albeit under the pseudonym "Beatrice Ironside." Towards the beginning of her year-long tenure as editor of "The Observer," Anderson treats the issue of her gender lightly, and she seems to expect her readers to do so as well. In her February 28, 1807 column, which she uses as an opportunity to introduce some of her regular contributors--all pseudonymous, of course, and some probably entirely fictional--she describes one of the functions to be filled by a "Reverend Mr. Supple" in the following terms: “That a little Latin and Greek, now and then giving dignity to our lucubrations, may not alarm the bucks and bloods, who abhor learned women, we will inform them, that all such scraps are supplied by our able coadjutor, the Rev. Mr. Supple.” In fact, a little Latin did find its way into "Beatrice Ironside's Budget" on occasion--so it's possible that Anderson was simply being satirical here, as was her wont. Still, the tone is jocular. And who knows, perhaps the Reverend Mr. Supple was actually none other than Anderson herself.
But by April 4, we begin to hear an edge in Anderson's tone: "In a community like this," she writes, as Beatrice, "where the nobler sex are almost entirely engrossed, by parchments, pulses, or price currents, the attempt of a female to promote the cause of taste, literature and morals, by undertaking the arduous employment of editor to a weekly paper, would it should seem, have been cherished with respect, and forwarded with assistance and encouragement... Such were the expectations of Beatrice, such the flattering prospect with which she entered on her new avocation..."
But NO... "Alas! luckless dame, not long were the illusions of thy fancy to deceive thee ... not long e'er the futility of thy hopes was demonstrated, and vexation usurped their empire in thy spirit."
Given the flowery nature of the prose here--even more flowery than usual for "Beatrice"--we can probably safely assume that this is still meant to be somewhat comical. But I detect more than a grain of sincere resentment here. After all, she's been working her tail off, for--as she sees it--the benefit of the citizenry. Whether or not she actually expected to be "cherished with respect," she apparently expected better than what she's getting.
And what is that, exactly? Well, given the passage of time--and the disappearance of contemporary rival publications that may or may not have contained vicious attacks on Anderson--it's hard to tell. Apparently Benjamin Bickerstaff--her erstwhile star columnist, who went off in a huff shortly after the inception of the publication when Eliza, tired of waiting for his copy, ran a different column under his byline--has launched a campaign against her. To hear her tell it, she is being "torn in pieces by ... merciless hounds," who have been egged on, or perhaps led, by Bickerstaff. Now, she says, he has not only given up writing for "The Observer," he has pronounced its doom.
Interestingly, given that Anderson herself is a woman, Bickerstaff--at least according to Anderson--had a good deal of female support. As observant readers will recall, the column that set off Bickerstaff's departure--which was ostensibly written by one "Tabitha Simple," but which was almost certainly penned by Anderson herself--included some remarks critical of Baltimore's female population, singling out certain ones, although not by name. Bickerstaff, in his response, leapt to the defense of these women, who he thought he could identify. Now Anderson describes him sardonically as "the gallant, the benevolent, the magnanimous Benjamin, the oracle of half the little Misses of the city."
But it's clear even from reading Anderson's April 4 column that her gender isn't the only issue inspiring the attacks against her. It's also her penchant for satire, evident even in her description of Baltimore's merchant princes ("the nobler sex") as being "almost entirely engrossed" in grubby monetary pursuits--leaving her, a female, to try to save Baltimore's cultural soul. There's more than a little snobbery evident in Anderson's attitude towards her fellow residents of Baltimore--then a fast-growing mercantile city that, compared to older urban centers such as New York and Philadelphia, was lacking in both landed gentry and the resident artist class that might have been supported by them. As we'll see, in some ways Anderson was fighting against the tide, seemingly nostalgic for an almost feudal time, when the idle rich had what she considered taste and breeding, as well as a sense of their cultural obligations. Or, to put it more sympathetically, she decried the wretched excesses of the nouveau riche and championed the cause of "true," and usually impoverished, artists.
In her column Anderson recognizes that her acid tongue, and not just her gender, is part of the basis for the opposition she sees arrayed against her. But she remains defiant. Sure,she says, she could have published nothing but boring "dissertations on morality"--and gone out of business. She makes it clear that she'd rather publish a lively paper that employs ridicule to combat what she sees as folly, even if she ends up being "torn in pieces" (at least figuratively) as a result. She seems to have believed, as some journalists may today, that it's better to offend people and attract readers than to be careful and polite--and ignored.
So, where were we? Ah yes, Eliza has recently come out of the closet as a female editor, albeit under the pseudonym "Beatrice Ironside." Towards the beginning of her year-long tenure as editor of "The Observer," Anderson treats the issue of her gender lightly, and she seems to expect her readers to do so as well. In her February 28, 1807 column, which she uses as an opportunity to introduce some of her regular contributors--all pseudonymous, of course, and some probably entirely fictional--she describes one of the functions to be filled by a "Reverend Mr. Supple" in the following terms: “That a little Latin and Greek, now and then giving dignity to our lucubrations, may not alarm the bucks and bloods, who abhor learned women, we will inform them, that all such scraps are supplied by our able coadjutor, the Rev. Mr. Supple.” In fact, a little Latin did find its way into "Beatrice Ironside's Budget" on occasion--so it's possible that Anderson was simply being satirical here, as was her wont. Still, the tone is jocular. And who knows, perhaps the Reverend Mr. Supple was actually none other than Anderson herself.
But by April 4, we begin to hear an edge in Anderson's tone: "In a community like this," she writes, as Beatrice, "where the nobler sex are almost entirely engrossed, by parchments, pulses, or price currents, the attempt of a female to promote the cause of taste, literature and morals, by undertaking the arduous employment of editor to a weekly paper, would it should seem, have been cherished with respect, and forwarded with assistance and encouragement... Such were the expectations of Beatrice, such the flattering prospect with which she entered on her new avocation..."
But NO... "Alas! luckless dame, not long were the illusions of thy fancy to deceive thee ... not long e'er the futility of thy hopes was demonstrated, and vexation usurped their empire in thy spirit."
Given the flowery nature of the prose here--even more flowery than usual for "Beatrice"--we can probably safely assume that this is still meant to be somewhat comical. But I detect more than a grain of sincere resentment here. After all, she's been working her tail off, for--as she sees it--the benefit of the citizenry. Whether or not she actually expected to be "cherished with respect," she apparently expected better than what she's getting.
And what is that, exactly? Well, given the passage of time--and the disappearance of contemporary rival publications that may or may not have contained vicious attacks on Anderson--it's hard to tell. Apparently Benjamin Bickerstaff--her erstwhile star columnist, who went off in a huff shortly after the inception of the publication when Eliza, tired of waiting for his copy, ran a different column under his byline--has launched a campaign against her. To hear her tell it, she is being "torn in pieces by ... merciless hounds," who have been egged on, or perhaps led, by Bickerstaff. Now, she says, he has not only given up writing for "The Observer," he has pronounced its doom.
Interestingly, given that Anderson herself is a woman, Bickerstaff--at least according to Anderson--had a good deal of female support. As observant readers will recall, the column that set off Bickerstaff's departure--which was ostensibly written by one "Tabitha Simple," but which was almost certainly penned by Anderson herself--included some remarks critical of Baltimore's female population, singling out certain ones, although not by name. Bickerstaff, in his response, leapt to the defense of these women, who he thought he could identify. Now Anderson describes him sardonically as "the gallant, the benevolent, the magnanimous Benjamin, the oracle of half the little Misses of the city."
But it's clear even from reading Anderson's April 4 column that her gender isn't the only issue inspiring the attacks against her. It's also her penchant for satire, evident even in her description of Baltimore's merchant princes ("the nobler sex") as being "almost entirely engrossed" in grubby monetary pursuits--leaving her, a female, to try to save Baltimore's cultural soul. There's more than a little snobbery evident in Anderson's attitude towards her fellow residents of Baltimore--then a fast-growing mercantile city that, compared to older urban centers such as New York and Philadelphia, was lacking in both landed gentry and the resident artist class that might have been supported by them. As we'll see, in some ways Anderson was fighting against the tide, seemingly nostalgic for an almost feudal time, when the idle rich had what she considered taste and breeding, as well as a sense of their cultural obligations. Or, to put it more sympathetically, she decried the wretched excesses of the nouveau riche and championed the cause of "true," and usually impoverished, artists.
In her column Anderson recognizes that her acid tongue, and not just her gender, is part of the basis for the opposition she sees arrayed against her. But she remains defiant. Sure,she says, she could have published nothing but boring "dissertations on morality"--and gone out of business. She makes it clear that she'd rather publish a lively paper that employs ridicule to combat what she sees as folly, even if she ends up being "torn in pieces" (at least figuratively) as a result. She seems to have believed, as some journalists may today, that it's better to offend people and attract readers than to be careful and polite--and ignored.
Wednesday, May 19, 2010
O Brave New Editors
Is there any headier experience than running your own publication when you're still in your twenties? Perhaps it isn't everyone's cup of tea, but for those of us bitten by the journalism bug, it may well be the best time of our lives. And having been on both ends of the journalism transaction--writer and editor--I know that it's way more fun to be in the driver's seat than to be the hitch-hiker by the side of the road watching the cars fly past.
When I was in college, I wasn't exactly running a publication, but I did have responsibility for filling the features page three times a week--and that was plenty of responsibility, as far as I was concerned. I got to think up story ideas, assign them to others or (more often than I planned) write them myself, come up with clever headlines and graphics, design the layout ... in short, wield journalistic power. Of course, there were frequent crises: writers that were MIA as deadlines approached, stories that came in with serious problems, photos that got lost somewhere in the darkroom (yes, in those days we had a darkroom) ... whatever. But even the crises were exhilarating. And the cameraderie born of sharing all this joy and angst with my colleagues was--while temporary and situational--genuine and memorable.
My son (who is the most faithful, if not the only, reader of this blog) has just come off what I presume is a similar experience editing his own college publication--where, as editor-in-chief, he had way more responsibility than I did, and was far more innovative and thoughtful in his approach. He may well go far in journalism, which, despite the fact that the industry seems to be imploding, is his chosen field of endeavor, at least for now. But I wonder if he'll ever have as much fun again. (Sam: I know it wasn't ALL fun, but believe, me, it will seem more and more like nonstop fun as the years go by.)
So I think I (and perhaps my son) can relate to the enthusiasm with which Eliza Anderson, at the age of 26, must have approached her new post as editor of a fledgling magazine in 1807. We don't know exactly how her rise to this position came about, but she probably started out by submitting articles, under pseudonyms of course, to a publication called the Companion. The editors of the Companion--all men, and all apparently busy with their studies or occupations and hard pressed to find the time to edit this magazine they'd launched--may well have recognized her talent (perhaps without recognizing her true gender) and begun publishing her submissions regularly. At some point they appear to have taken advantage of her enthusiasm and availability and started transferring some editorial responsibilities to her, because she appears to have functioned as a sort of associate or deputy editor in the final months of the Companion's run.
Then, at last, she elbows her way out of the shadows--or, perhaps, the men who have been out in front of her all trickle away, distracted by other pursuits--and emerges as editor-in-chief of a new successor publication, one that conforms to her own ideas of what a magazine should be (that is: tart, satirical, and critical of absurdity, pretension and folly). A dream come true! And she takes a new pseudonym, one that is forthrightly female: Beatrice Ironside.
A few weeks after taking the helm of this new magazine, the Observer, she introduces herself under the heading, "Beatrice Ironside's Budget: Speak of Me As I Am." Acknowledging that "much curiosity [has] been excited to know, what manner of woman our female editor may be," she proceeds to describe herself. She seems to be trying to reassure her readers that she is not a creature of extremes, but rather will function as an understanding and moderating presence. She is, she says, "old enough to have set aside some of the levities of youth, and young enough to remember, that she has had her share of them," and she proclaims herself "neither a misanthrope nor an optimist." Nevertheless, her optimism--indeed, her exuberance--fairly leaps off the page.
What she doesn't dwell on, at least not explicitly, is the fact that she's female--perhaps the first female in the country to edit a publication of this sort. But, like the proverbial 800-pound gorilla, it's a fact that can't be entirely ignored. She apparently feels the need to describe her appearance, something a male editor might have chosen to omit ("neither ugly enough to frighten a fiery courser from his repast, nor handsome enough for the Parson of the Parish to turn aside from his discourse whilst he admires her beauty"). And she assures her readers that her particular experience renders her more qualified for this editorial position than most members of her sex: "Accident having thrown her much more in the busy throng, than generally falls to the lot of woman, she has thereby acquired a knowledge of human nature which will assist her much in prosecuting this her work."
But what she seems most intent on explaining is that her prime subject will be "the vices and follies that fall beneath her notice," which she intends to "lash with the utmost force of satire she can command." With the memory of the recent "Tabitha Simple" debacle still sharp in her mind--a contretemps that led to the departure of her star columnist--she protests that she won't be targeting any particular individuals, but she acknowledges that she may "touch a picture with such lively strokes, that folly perceives its likeness, and is enraged at the dexterity of the artist."
True dat, as they say these days (and having just penned a satirical novel myself, I'm well aware of the possibility of outrage). But Eliza--or "Beatrice"--claims that she couldn't care less how enraged people get: "She happens to have been so luckily constructed, that she can turn an iron-side to the proud man's contumely (or woman's either)."
As it turned out, Beatrice wasn't quite as iron-sided as she thought. But she was right about one thing: "Mistress Beatrice, if publicly attacked, will not fail to defend herself, and Porcupine-like, she will always have a quill [i.e., a pen] ready to dart at those who may assail her."
When I was in college, I wasn't exactly running a publication, but I did have responsibility for filling the features page three times a week--and that was plenty of responsibility, as far as I was concerned. I got to think up story ideas, assign them to others or (more often than I planned) write them myself, come up with clever headlines and graphics, design the layout ... in short, wield journalistic power. Of course, there were frequent crises: writers that were MIA as deadlines approached, stories that came in with serious problems, photos that got lost somewhere in the darkroom (yes, in those days we had a darkroom) ... whatever. But even the crises were exhilarating. And the cameraderie born of sharing all this joy and angst with my colleagues was--while temporary and situational--genuine and memorable.
My son (who is the most faithful, if not the only, reader of this blog) has just come off what I presume is a similar experience editing his own college publication--where, as editor-in-chief, he had way more responsibility than I did, and was far more innovative and thoughtful in his approach. He may well go far in journalism, which, despite the fact that the industry seems to be imploding, is his chosen field of endeavor, at least for now. But I wonder if he'll ever have as much fun again. (Sam: I know it wasn't ALL fun, but believe, me, it will seem more and more like nonstop fun as the years go by.)
So I think I (and perhaps my son) can relate to the enthusiasm with which Eliza Anderson, at the age of 26, must have approached her new post as editor of a fledgling magazine in 1807. We don't know exactly how her rise to this position came about, but she probably started out by submitting articles, under pseudonyms of course, to a publication called the Companion. The editors of the Companion--all men, and all apparently busy with their studies or occupations and hard pressed to find the time to edit this magazine they'd launched--may well have recognized her talent (perhaps without recognizing her true gender) and begun publishing her submissions regularly. At some point they appear to have taken advantage of her enthusiasm and availability and started transferring some editorial responsibilities to her, because she appears to have functioned as a sort of associate or deputy editor in the final months of the Companion's run.
Then, at last, she elbows her way out of the shadows--or, perhaps, the men who have been out in front of her all trickle away, distracted by other pursuits--and emerges as editor-in-chief of a new successor publication, one that conforms to her own ideas of what a magazine should be (that is: tart, satirical, and critical of absurdity, pretension and folly). A dream come true! And she takes a new pseudonym, one that is forthrightly female: Beatrice Ironside.
A few weeks after taking the helm of this new magazine, the Observer, she introduces herself under the heading, "Beatrice Ironside's Budget: Speak of Me As I Am." Acknowledging that "much curiosity [has] been excited to know, what manner of woman our female editor may be," she proceeds to describe herself. She seems to be trying to reassure her readers that she is not a creature of extremes, but rather will function as an understanding and moderating presence. She is, she says, "old enough to have set aside some of the levities of youth, and young enough to remember, that she has had her share of them," and she proclaims herself "neither a misanthrope nor an optimist." Nevertheless, her optimism--indeed, her exuberance--fairly leaps off the page.
What she doesn't dwell on, at least not explicitly, is the fact that she's female--perhaps the first female in the country to edit a publication of this sort. But, like the proverbial 800-pound gorilla, it's a fact that can't be entirely ignored. She apparently feels the need to describe her appearance, something a male editor might have chosen to omit ("neither ugly enough to frighten a fiery courser from his repast, nor handsome enough for the Parson of the Parish to turn aside from his discourse whilst he admires her beauty"). And she assures her readers that her particular experience renders her more qualified for this editorial position than most members of her sex: "Accident having thrown her much more in the busy throng, than generally falls to the lot of woman, she has thereby acquired a knowledge of human nature which will assist her much in prosecuting this her work."
But what she seems most intent on explaining is that her prime subject will be "the vices and follies that fall beneath her notice," which she intends to "lash with the utmost force of satire she can command." With the memory of the recent "Tabitha Simple" debacle still sharp in her mind--a contretemps that led to the departure of her star columnist--she protests that she won't be targeting any particular individuals, but she acknowledges that she may "touch a picture with such lively strokes, that folly perceives its likeness, and is enraged at the dexterity of the artist."
True dat, as they say these days (and having just penned a satirical novel myself, I'm well aware of the possibility of outrage). But Eliza--or "Beatrice"--claims that she couldn't care less how enraged people get: "She happens to have been so luckily constructed, that she can turn an iron-side to the proud man's contumely (or woman's either)."
As it turned out, Beatrice wasn't quite as iron-sided as she thought. But she was right about one thing: "Mistress Beatrice, if publicly attacked, will not fail to defend herself, and Porcupine-like, she will always have a quill [i.e., a pen] ready to dart at those who may assail her."
Sunday, April 25, 2010
Beatrice Ironside
The January 31, 1807 issue of the Observer--the one that carried Benjamin Bickerstaff's resignation and the riposte of the editor, Eliza Anderson--was also the first one to introduce the name "Beatrice Ironside." Like Benjamin Bickerstaff, this was a pseudonym--in this case, a pseudonym for Anderson herself. But in the January 31 issue, it appeared only as a name under the masthead, which for the first time carried the words "by Beatrice Ironside."
It wasn't until the following week that the pseudonym appeared in the body of the magazine, under an editorial note addressed to "Readers and Correspondents" (who were, in many cases, one and the same). In a way, this is Anderson coming out of the closet, so to speak: it's both a description of the magazine and an invitation to prospective contributors, something that you might expect to find in a magazine's first issue or prospectus. The fact that this editorial didn't appear until after Bickerstaff went off in a huff leads me to suspect that, although Anderson was referred to as editor while he was still there, he was actually exerting quite a bit of editorial control. In any event, the rift between the two was decidedly bitter, judging from some editorial jousting later in the year.
In the note, "Ironside" catalogued the subjects the Observer would touch on--and a pretty exhaustive catalogue it is: the fine arts, history, poetry, fiction, even politics (although "Ironside" says that she herself "has never so much attended to the subject of politics as to entitle her to an opinion," and makes it clear that the publication will be nonpartisan). In this eclecticism, the Observer was similar to other "literary miscellanies" of the day.
And like its contemporary periodicals, the Observer relied on submissions from unpaid contributors, many of which apparently came in over the transom. Aside from Bickerstaff, who had now departed, Anderson appears to have been the only writer on staff, as it were. In her note to readers and contributors, Anderson thanked some of those who had sent in articles and poems and encouraged them to write more. (This included a writer she names as "Judith O'Donnelly," but then refers to as "he"--an indication, perhaps, that she knew the pseudonym was being used by a man.) Other contributors, however, were actively discouraged, including one who had sent "two or three pages that must be the production of some moon-struck brain ... We beg this gentleman henceforth to address us only in his lucid intervals."
One problem was that contributors were sending their submissions with postage due--so that Anderson had to pay for the privilege of reading these offerings, some of which "immediately found their way from our fingers to the fire." This was, as she put it, very expensive fuel, and she announced that henceforth all submissions must arrive with their postage paid.
It wasn't until a couple of weeks later, though, that Anderson, in the guise of Beatrice Ironside, would undertake the task of satisfying public curiosity about, as she put it, "what manner of woman our female editor may be"--and explaining the derivation of her pseudonym.
It wasn't until the following week that the pseudonym appeared in the body of the magazine, under an editorial note addressed to "Readers and Correspondents" (who were, in many cases, one and the same). In a way, this is Anderson coming out of the closet, so to speak: it's both a description of the magazine and an invitation to prospective contributors, something that you might expect to find in a magazine's first issue or prospectus. The fact that this editorial didn't appear until after Bickerstaff went off in a huff leads me to suspect that, although Anderson was referred to as editor while he was still there, he was actually exerting quite a bit of editorial control. In any event, the rift between the two was decidedly bitter, judging from some editorial jousting later in the year.
In the note, "Ironside" catalogued the subjects the Observer would touch on--and a pretty exhaustive catalogue it is: the fine arts, history, poetry, fiction, even politics (although "Ironside" says that she herself "has never so much attended to the subject of politics as to entitle her to an opinion," and makes it clear that the publication will be nonpartisan). In this eclecticism, the Observer was similar to other "literary miscellanies" of the day.
And like its contemporary periodicals, the Observer relied on submissions from unpaid contributors, many of which apparently came in over the transom. Aside from Bickerstaff, who had now departed, Anderson appears to have been the only writer on staff, as it were. In her note to readers and contributors, Anderson thanked some of those who had sent in articles and poems and encouraged them to write more. (This included a writer she names as "Judith O'Donnelly," but then refers to as "he"--an indication, perhaps, that she knew the pseudonym was being used by a man.) Other contributors, however, were actively discouraged, including one who had sent "two or three pages that must be the production of some moon-struck brain ... We beg this gentleman henceforth to address us only in his lucid intervals."
One problem was that contributors were sending their submissions with postage due--so that Anderson had to pay for the privilege of reading these offerings, some of which "immediately found their way from our fingers to the fire." This was, as she put it, very expensive fuel, and she announced that henceforth all submissions must arrive with their postage paid.
It wasn't until a couple of weeks later, though, that Anderson, in the guise of Beatrice Ironside, would undertake the task of satisfying public curiosity about, as she put it, "what manner of woman our female editor may be"--and explaining the derivation of her pseudonym.
Wednesday, April 7, 2010
Sister Editors
When I first came across the fact that Eliza Anderson had founded and edited a magazine at the age of 26 in 1807, I thought: hmmm, that seems unusual. But at that point I didn't realize how unusual it really was.
I started doing some research into the history of women editors and journalists, and I was startled to discover that (a) nobody knew about Eliza Anderson, and (b) the secondary sources that talked about 19th-century women editors identified another woman--a woman who came after Anderson--as the first women to edit a magazine. For example, an online database identifying 65 women who edited periodicals or served as printers before 1820 doesn't mention Anderson. And her name doesn't appear in a list of over 600 female editors of the 19th century that appears as an appendix to a book called Our Sister Editors, by Patricia Okker.
That book identifies a woman named Mary Clarke Carr as probably the first woman to edit a magazine in the United States, as does an amazing book about Clarke Carr called Dangerous to Know, by Susan Branson. (Clarke Carr was the ghostwriter for a scandalous memoir by a woman who tried to rescue her lover from the gallows and kidnapped the governor of Pennsylvania; Branson's book reads almost like a novel.) Clarke Carr began editing and publishing a women's magazine with the charming name of the Intellectual Regale, or Ladies Tea Tray, in Philadelphia in 1814.
Not to take anything away from Clarke Carr's achievement, but here's the thing: Clarke Carr, and almost all the women editors of the 19th century who came after her, edited magazines for women. These women editors embraced their peculiarly female role, preferring to call themselves "editresses" rather than editors. But not only did Anderson predate them, her magazine didn't confine itself to what were considered women's concerns (cooking, fashion, household advice--along with some fiction and poetry). On the contrary, Anderson clearly saw the Observer as a general-interest magazine, taking on any and all cultural issues of the day--and she never referred to herself as an editress. And while the Observer wasn't primarily political--politics being a preserve that was seen as exclusively male--it invited and sometimes published pieces that touched on political issues.
In her book Our Sister Editors, Okker mentions that a woman named Frances Wright edited a general-interest magazine called the New Harmony Gazette in 1825--possibly the next instance of this after Anderson's one-year stint as editor of the Observer. But New Harmony was a utopian socialist community in the wilds of Indiana--presumably a more receptive locale for this sort of thing than conservative, merchant-dominated Baltimore.
Okker does quote a woman who had an experience similar to Anderson's own: Jane Grey Swisshelm, who was the editor and publisher of an antislavery periodical in Pittsburgh in 1848. Characterizing a male editor's reaction to her undertaking, Swisshelm wrote: "A woman had started a political paper! A woman! Could he believe his eyes! A woman!”
As we'll see, forty-one years earlier Eliza Anderson was moved to voice sentiments that echoed--or should I say presaged--Swisshelm's almost word for word.
I started doing some research into the history of women editors and journalists, and I was startled to discover that (a) nobody knew about Eliza Anderson, and (b) the secondary sources that talked about 19th-century women editors identified another woman--a woman who came after Anderson--as the first women to edit a magazine. For example, an online database identifying 65 women who edited periodicals or served as printers before 1820 doesn't mention Anderson. And her name doesn't appear in a list of over 600 female editors of the 19th century that appears as an appendix to a book called Our Sister Editors, by Patricia Okker.
That book identifies a woman named Mary Clarke Carr as probably the first woman to edit a magazine in the United States, as does an amazing book about Clarke Carr called Dangerous to Know, by Susan Branson. (Clarke Carr was the ghostwriter for a scandalous memoir by a woman who tried to rescue her lover from the gallows and kidnapped the governor of Pennsylvania; Branson's book reads almost like a novel.) Clarke Carr began editing and publishing a women's magazine with the charming name of the Intellectual Regale, or Ladies Tea Tray, in Philadelphia in 1814.
Not to take anything away from Clarke Carr's achievement, but here's the thing: Clarke Carr, and almost all the women editors of the 19th century who came after her, edited magazines for women. These women editors embraced their peculiarly female role, preferring to call themselves "editresses" rather than editors. But not only did Anderson predate them, her magazine didn't confine itself to what were considered women's concerns (cooking, fashion, household advice--along with some fiction and poetry). On the contrary, Anderson clearly saw the Observer as a general-interest magazine, taking on any and all cultural issues of the day--and she never referred to herself as an editress. And while the Observer wasn't primarily political--politics being a preserve that was seen as exclusively male--it invited and sometimes published pieces that touched on political issues.
In her book Our Sister Editors, Okker mentions that a woman named Frances Wright edited a general-interest magazine called the New Harmony Gazette in 1825--possibly the next instance of this after Anderson's one-year stint as editor of the Observer. But New Harmony was a utopian socialist community in the wilds of Indiana--presumably a more receptive locale for this sort of thing than conservative, merchant-dominated Baltimore.
Okker does quote a woman who had an experience similar to Anderson's own: Jane Grey Swisshelm, who was the editor and publisher of an antislavery periodical in Pittsburgh in 1848. Characterizing a male editor's reaction to her undertaking, Swisshelm wrote: "A woman had started a political paper! A woman! Could he believe his eyes! A woman!”
As we'll see, forty-one years earlier Eliza Anderson was moved to voice sentiments that echoed--or should I say presaged--Swisshelm's almost word for word.
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