Role of Women in Early American Writing

In early American history, the role of women in the traditional societal ladder was diminished to the domestic sphere. Women were to serve as caretakers and faithful mistresses to their husbands and often remain mute of points of personal and political reverence. However, the implementation of women’s writing in publication brought a voice to the formerly voiceless. As such, the role of women’s writing in the male-dominated field of publication was vital in the approach to the recognition of modern feminism. In each instance of early American publication, there are different approaches to themes present in the esteemed writers’ work that further advance their personal, religious, and socioeconomic agendas. Poets Anne Bradstreet, Phillis Wheatley, and Jane Johnston Schoolcraft were all of different eras and agendas, yet the main purpose remains the same: to liberate themselves, their voices, and other women alike.

Of the three writers, Bradstreet was the earliest and presented the most domicile example of an early version of feminism. As a Puritan immigrant from England, the consensus on most cases of adversity was deferral to a singular religious power (God). Her writing wasn’t necessarily challenging racial or societal norms, but largely reflected the worries of other Puritans of the time. In fact, from the numerous poems addressed to her husband, she seemed content in the role of mother/housewife having had eight children. Pondering on the influence of her publishing, it may have been luck she captivated audiences as her brother-in-law published her manuscripts without Bradstreet’s knowledge. Regardless, where Bradstreet stands out progressively is being the first published woman writer with her address of the death of her grandchildren and reflections on the “wilderness” of a new land in America.

Motherhood is one of the most important themes present in Bradstreet’s work as it intertwines with the ideals of Puritanism. Believing there is a predisposed covenant between God and his people, followers were often attentive to the reasoning behind deaths and other forms of adversity. In Bradstreet’s series of poems regarding the death of three of her grandchildren, while distraught, she recognizes the aforementioned covenant and attributes the deaths as an act of a just God with a plan. But this doesn’t sort of blind faith doesn’t come without questions or doubts. With lines like, “Such was His will, but why, let’s not dispute” from “On My Dear Grandchild Simon…” and “Was ever stable joy yet found below?/Or perfect bliss without mixture of woe?” from “In Memory of My Dear Grandchild Anne Bradstreet…” showcase the levy of doubt mixed in with affirmations of faith regarding the gut-wrenching loss of her grandchildren (A-242). Bradstreet is questioning the authenticity of a so-called just God yet is sure that salvation will come with acceptance. Being able to call into question her religion with logical questioning and thoughtful repose made Bradstreet a popular figure in early New England. Her focus and commitment, especially as a woman, to the craft of this kind of writing caught the attention of the populace as they clung to her expressions of a worried Puritan.

The latter two writers, Wheatley and Schoolcraft, have dramatically different agendas as feminist writers as they dealt with being both marginalized and oppressed as a slave and native American, respectively. Each showcase the ability to express written thought and emotion far beyond the belief of their racist captives and that played an immeasurable role in their influence on their liberation and voices.

Most slaves were uneducated, and as a result, were unable to form cohesive, legible, and strong arguments against the practice of slavery. However, in the case of Phillis Wheatley, she was not only able to legislate cases against slavery but use sarcasm and point to obvious logical fallacies in her oppressors reasoning. In poems such as “Being Brought from Africa to America”, Wheatley sets up the narrative as if she were sympathetic to the slavery movement and understands that people of the darker skin tone are “diabolical” and essentially cursed. Wheatley juxtaposes the beginning lines with the latter which serve as basically a warning by saying “Remember, Christians, Negroes black as Cain / may be refined and join the angelic train” (A-789). Despite the slave owners preconceived notions that black people are of a lesser descent, according to their very own doctrine, Wheatley is saying that even they are redeemable in the eyes of their God. This is just an inkling of the kinds of critical thinking that Wheatley has showcased in her writing. Wheatley was advanced in her ability to weave together rhyme schemes and extended metaphors. This allowed her to exhibit her strength of eloquent writing and capture the attention of even white leaders of the time. Such writing is seen in the poem, “To the Right Honorable William, Earl of Dartmouth…” in which Wheatley described her love for freedom as the country is plunging its way into the Revolutionary War: “….Wonder from whence my love of Freedom sprung,/Whence flow these wishes for the common good/…” This poem further showcased her lyrical ability to appear singularly driven yet able to dribble in her own agenda as a reminder she continues to fight her own battles as the country fights for the rights concerning her body.

While not poetry, Wheatley also uses extended metaphors and sarcasm in a letter to Reverend Samson Occom. By using direct language and capitalizing specific words such as chaos, order, freedom, and liberty, Wheatley is essentially personifying these ideals as she states that each of these are present in each person, especially in the people of Africa, and re-darkened by oppression. She likens her situation to that of the Israelites under the reign of Egyptians stating that they too resolved for the likes of freedom. She imposes this comparison to highlight the similarities between the two factions despite their large time difference so that the oppressors could see it as such. Wheatley tops it off with one of the most memorable lines of her collection: “How well the Cry for Liberty, and the reverse Disposition for the exercise of oppressive Power over others agree, - I humbly think it does not require the Penetration of a philosopher to determine,” (A-799). This final statement uses sarcasm to deliver the sentiment that it doesn’t take a genius or professional moral deliberator to see the faults of oppression. Wheatley is just one example of just how glaring the fault of oppression was. And because of her work, a voice for captive slaves, especially women (whom had some of the worst effects of slavery), was born.

Jane Johnston Schoolcraft, a Native American writer, wrote mostly in response to the Indian Removal Act. Being fluent in both native languages and English, Schoolcraft was able to appeal to both white people and natives as she could basically code switch depending on her audience. Again, most who weren’t white were considered to be fiendish and incapable of advanced notions of thought and Schoolcraft was the bane of that stereotype. While most thought that the natives were a “vanishing” race, this wasn’t necessarily true. This overwhelming assumption led to many natives’ voices being lost to the wind. Due to her ties with a white man in charge of Native affairs, Schoolcraft was able to have her worked published and her voice be amplified to represent the sorrows of those who’d grown hoarse.

Schoolcraft’s work usually encapsulated the fears of the natives as Europeans continued the colonization of their land. The fears usually lied within displacement, abandonment, and genocide. This is most evident in her fictional piece, “The Little Spirit, or Boy-Man” in which a little boy is subject to bullying from several larger bullies until he lashes out after being continually being undermined and ultimately kills the bullies. The epitome of this kind of writing lies within the last few words of the story – “… and [he] said to her, never, never more to doubt his ability in any way,” (B-147). We tend to root for the underdog; Schoolcraft creates a story in which Natives are the metaphorical underdogs and includes subtle digs at the colonizers as they spinelessly take what doesn’t belong to them. Schoolcraft’s poetry also captured some of the same sentiments. In poems like “To the Pine Tree”, Schoolcraft uses both native language and provides a translation in which still has a rhyme scheme and nature themes. This work shows both sophistication regarding her education along with an emphasis on how the impact of nature can take some of the tensions away from concurrent issues. In “Sweet Willy”, Schoolcraft expresses similar sentiments to Bradstreet as she mourns the loss of her son. Despite being of different eras, this subject matter connects the two writers exhibiting the importance of motherhood to the identity of women in early America.

These three writers each used their superior writing ability to further their agendas, each unique to their time yet ultimately towards the goal of liberation, specifically of women, creating an early version of feminism that would allow women to have their worries and voices amplified. Not only were they amplified, but they would also become indicative of the truer state of affairs in a given time as, even restricted to the domestic sphere, they could be seen. Despite having completely different agendas (Puritan/religious, slavery, native response), they all had one common goal – to be heard.