By Katherine H Adams
A bunch in their personal is the attention-grabbing tale of the 1st generations of girls who went to school to profit to be writers after which introduced their careers writing poetry and prose. This unparalleled staff incorporated Elizabeth Bishop, Ruby Black, Pearl greenback, Emma Bugbee, Willa Cather, Zona Gale, Mildred Gilman, Zora Neale Hurston, Mary McCarthy, Marianne Moore, Eudora Welty, and Margaret Walker.
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Additional info for A group of their own: college writing courses and American women writers, 1880-1940
Scotia Seminary, founded in Concord, North Carolina, in 1867, for example, offered such a combination of subjects. The first opportunities to attend four-year colleges came at evangelical schools that enrolled women to improve their moral life and influence in the home. Most of these schools first offered separate classes for women. In the THE COLLEGE LITERATURE AND WRITING CLASS 31 Oberlin College Circular of 1834, founder John Jay Shipherd announced that one of the primary objects of the school would be “elevation of female character, bringing within the reach of the misjudged and neglected sex, all the instructive privileges which hitherto have unreasonably distinguished the leading sex from theirs” (Fletcher 373).
Carey Thomas, president of Bryn Mawr from 1894 to 1922, advocated the “old fashioned college curriculum” as providing “in a much higher degree than certain other subjects training in thinking straight and in reasoning clearly” (“The Curriculum of ” 586, 588). Women’s colleges, she believed, should hire the best qualified teachers of both genders and avoid women’s subjects such as domestic science, painting, music, and acting; otherwise these schools would dwindle into “a while-life-lasts asylum for the physically young and vigorous, but mentally incompetent” (“The Curriculum of ” 590).
Certainly these writers would not have referred to their own work as “trash,” but they might have agreed—publicly—that it was no better than was necessary for expressing a moral message. 22 A GROUP OF THEIR OWN Echoing the writers themselves, many literary historians and critics have argued that the moral purposes of these texts, their focus on good and evil, wrongdoer and victim, subsumed any other artistic goals. An 1851 reviewer in Holden’s Dollar Magazine, for example, found Susan Warner’s The Wide, Wide World “wholly and unmistakably good in the moral instruction” but too sentimental in its plot:“It is a pity, however, that the author has such a taste for crying.
A group of their own: college writing courses and American women writers, 1880-1940 by Katherine H Adams