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Recommended: Women and their role in the civil war
Harriet Beecher Stowe's Uncle Tom's Cabin
"The Kitchen is Seasoned With Love"
The above quotation is stamped on countless refrigerator magnets and embroidered on dishtowels across the world; and yet, how many of us ever stop to think about what it really means? After all, why is it important that a concept as ethereal and abstract as love should have significance in the kitchen, a place supposedly reserved for preparing that which is necessary only to maintaining the physical body? This question can perhaps be best answered by the “little woman” named Harriet Beecher Stowe, in her novel Uncle Tom’s Cabin – written before we even had refrigerators, much less magnets bearing heartwarming little proverbs.
Whereas it may at first be overlooked, the description of different types of kitchens in Uncle Tom’s Cabin is in fact a recurring theme in the novel and not to be trivialized. On the contrary, Harriet Beecher Stowe uses the image of the kitchen to encompass one of the most pertinent aspects of her argument against slavery: that of the importance of the home and domestic life in the fight against oppression and injustice. An indoctrinated member of the infamous “Cult of True Womanhood,” an unofficial sisterhood designed to combat women’s lack of physical and political power by encouraging them to develop the power of influence, Stowe uses representations of the ideology of this alliance – whose central tenets are piety, purity, submissiveness, and domesticity – as weapons in her narrative battle against slavery’s evils. She aims these weapons straight at the heart of female readers belonging to the same sisterhood, especially mothers; and with what territory should her feminine readership be more closely acquainted...
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...ey into freedom.
Finding meaning in Stowe’s use of kitchen imagery is not too difficult a task; her comparison of Chloe’s and Dinah’s kitchens shows the almost polar variations that can occur in slaveholding households, but the ultimate destruction that takes place in both homes proves that no matter how things may at first appear, tragedy will always be the result when slavery is at the core. The only way that true harmony can be achieved is through a system that is not based on slavery, as seen in the example of Rachel Halliday’s Quaker kitchen, where the scenarios of the other households are reversed, and the result is a hopeful end for the sufferer through the kindness of a fellow human being. Now it is up to us as readers to conduct our own kitchens with the same values of motherly nurturing, compassion for one’s fellow man, and most importantly, love.
Harriet Beecher Stowe was born on June 14, 1811. Her father was Lyman Beecher, pastor of the Congregational Church in Harriet’s hometown of Litchfield, Connecticut. Harriet’s brother was Henry Ward Beecher who became pastor of Brooklyn’s Plymouth Church. The religious background of Harriet’s family and of New England taught Harriet several traits typical of a New Englander: theological insight, piety, and a desire to improve humanity (Columbia Electronic Library; “Biography of Harriet Beecher Stowe”).
In all, Tademy does a great job in transporting her readers back to the 1800s in rural Louisiana. This book is a profound alternative to just another slave narrative. Instead of history it offers ‘herstory’. This story offers insight to the issues of slavery through a women’s perspective, something that not so many books offer. Not only does it give readers just one account or perspective of slavery but it gives readers a take on slavery through generation after generation. From the early days of slavery through the Civil War, a narrative of familial strength, pride, and culture are captured in these lines.
Celia, a Slave, a book by author Melton McLaurin, shows the typical relationship between a slave woman and her master in America during the 1850s. The story is the perfect example of how relationships between slave and their masters and other non-blacks within the community. This is shown through Celia’s murder of her slave owner, Robert Newsom. It was also shown through the community’s reaction that was involved in unraveling her court case. The Celia personal story illustrated how slave women was treated by their slave owners and how the laws wasn’t effective at protecting slave during the 1850s. Celia’s story help shed light on woman injustices, unconstitutional rights and most importantly racial issues/discrimination.
The two works of literature nudging at the idea of women and their roles as domestic laborers were the works of Zora Neale Hurston in her short story “Sweat”, and Charlotte Perkins Gilman’s short story “The Yellow Wallpaper”. Whatever the setting may be, whether it is the 1920’s with a woman putting her blood, sweat and tears into her job to provide for herself and her husband, or the 1890’s where a new mother is forced to stay at home and not express herself to her full potential, women have been forced into these boxes of what is and is not acceptable to do as a woman working or living at home. “Sweat” and “The Yellow Wallpaper” draw attention to suppressing a woman’s freedom to work along with suppressing a woman’s freedom to act upon her
American culture has defined the ideal dynamic for a family for many generations as one with a single, or perhaps multitude of dominant male figures, a submissive role or roles usually filled by the women in the household, and of course, children, who are deemed more acceptable if they are “seen and not heard”. Marilynne Robinson’s Housekeeping deconstructs and twists around what has grown to be custom in American Literature, and challenges the reader to feel uncomfortable about missing or swapped gender roles within the story itself. In Housekeeping, Ruthie and her sister Lucille have been transferred through several relatives after their mother’s death, and find themselves aching for a “normalcy” that they have never experienced, one that
Some critics have argued that Richard Wright’s women are “flat, one dimensional stereotypes, portrayed primarily in terms of their relationship to the male character”. (Quote, p540) However, in Uncle Tom’s Children, Wright resents three very distinct types of female characters who did not fit this description. Wright portrays women as an Avenger, a Sufferer and a Mother figure whose actions propel the stories to their final conclusion. In the story “Bright and Morning Star” Wright places the protagonist, Aunt Sue, in a domestic environment. “Her hands followed a lifelong ritual of toil” (pg222) as she cleans and cooks. Interestingly, Aunt Sue is the only heroine in the stories, who shows a different type of bravery than perhaps shown by the male figures in other stories. She is brave in the face of the loss of her two sons; she is brave as she does not show weakness to the white men who attempt to control her and make her do their bidding. She does not allow herself to be bound by the conventions of society. She speaks her mind to the white men who invade her home and states “Ah don’t care who Ahm talking t!” (pg238). Aunt Sue is portrayed as a cunning woman, who hides behind men’s perception of her as weak and uses it to her advantage. Her final act of bravery in the story is to giver herself up to death, before the white men can take her life from her. Wright also portrays women as sufferers in his work. Sarah, in “Long Black Song” suffers from isolation and is stuck in a loveless marriage. The gap between men and women is very much evident in this story. Sarah is very much dependent on Silas for company, security and items of comfort. Silas is allowed to exceed from the isolation imposed on his wife. Even when Sarah flees from ...
In Housekeeping, the idea of freedom is symbolically represented in one’s connection to nature and the lifestyle of a transient. In the instance where Sylvie and Ruth decide to burn their belongings, Sylvie’s unorthodox housekeeping was explained as “she considered accumulation to be the essence of housekeeping, and because she considered the hoarding of worthless things to be proof of a particular scrupulous thrift” (180). The idea behind Sylvie’s incompetence in the field of Housekeeping shows her ideology, as she does not place value into physical objects and views the idea of property as simply worthless. Not placing value into her belongings shows an unorthodox view on property, one that departs on the societal notion where belongings emphasize one’s status. This quote relates to the book of Fences, in a differencing sense as the family particularly emphasizes the belongings, especially their house. Additionally, an important moment in Ruth’s acceptance of a transient lifestyle comes when “you do not resist the cold, but simply relax and accept it, you no longer feel the cold as discomfort. [She] felt giddily free and eager, as you do in dreams, when you suddenly find that you can fly, very easily, and wonder why you have never tried it before. I might have discovered other things. For example, [she] was hungry enough to begin to learn that hunger has its pleasures, and I was happily at ease in the dark, I could feel that I was breaking the te...
In this essay I intend to delve into the representation of family in the slave narrative, focusing on Frederick Douglas’ ‘Narrative of the Life of Frederick Douglass, an American Slave’ and Harriet Jacobs ‘Incidents in the Life of a Slave Girl.’ Slave narratives are biographical and autobiographical stories of freedom either written or told by former slaves. The majority of them were ‘told to’ accounts written with the aid of abolitionist editors between 1830 and 1865. An amount of narratives were written entirely by the author and are referred to as authentic autobiographies. The first of more than six thousand extant slave narratives were published in 1703. Primarily written as propaganda, the narratives served as important weapons in the warfare against slavery. Slave narratives can be considered as a literary genre for a number of reasons. They are united by the common purpose of pointing out the evils of slavery and attacking the notion of black inferiority. In the narratives, you can find simple and often dramatic accounts of personal experience, strong revelation of the char...
The illumination of the brutal treatment of the slaves, both physically and mentally, are also apparent in the works of Stowe and Jacobs. Stowe, in Uncle Tom’s Cabin, uses the stories of Eliza, Harry, Uncle Tom and Cassy to show how slavery, with both cruel and kind masters, affects different members of the slave community. In Incidents in the Life of a Slave Girl, Jacobs focuses her work on the how the institution is “terrible for men; but is far more terrible for women” (B:933), adding sexual abuse to the atrocities of slavery. Douglass’ Madison gives the reader a masculine perspective on the
Valerie Martin’s Novel Property is an engrossing story of the wife of a slave owner and a slave, whom a mistress of the slave owner, during the late 18th century in New Orleans. Martin guides you through both, Manon Guadet and her servant Sarah’s lives, as Ms. Gaudet unhappily lives married on a plantation and Sarah unhappily lives on the plantation. Ms. Gaudet’s misserableness is derived from the misfortune of being married to a man that she despises and does not love. Sarah, the slave, is solely unhappy due to the fact that she is a slave, and has unwillingly conceived to children by Ms. Gaudiest husband, which rightfully makes Sarah a mistress. Throughout the book, Martin captivates the reader and enables you to place yourself in the characters shoes and it is almost as you can relate to how the characters are feeling.
Many plantation owners were men that wanted their plantation ran in a particular manner. They strove to have control over all aspects of their slaves’ lives. Stephanie Camp said, “Slave holders strove to create controlled and controlling landscapes that would determine the uses to which enslaved people put their bodies.” Mary Reynolds was not a house slave, but her master’s daughter had a sisterly love towards her, which made the master uncomfortable. After he sold Mary he had to buy her back for the health of his daughter. The two girls grew apart after the daughter had white siblings of her own. Mary wa...
In her essay, “Loopholes of Resistance,” Michelle Burnham argues that “Aunt Marthy’s garret does not offer a retreat from the oppressive conditions of slavery – as, one might argue, the communal life in Aunt Marthy’s house does – so much as it enacts a repetition of them…[Thus] Harriet Jacobs escapes reigning discourses in structures only in the very process of affirming them” (289). In order to support this, one must first agree that Aunt Marthy’s house provides a retreat from slavery. I do not. Burnham seems to view the life inside Aunt Marthy’s house as one outside of and apart from slavery where family structure can exist, the mind can find some rest, comfort can be given, and a sense of peace and humanity can be achieved. In contrast, Burnham views the garret as a physical embodiment of the horrors of slavery, a place where family can only dream about being together, the mind is subjected to psychological warfare, comfort is non-existent, and only the fear and apprehension of inhumanity can be found. It is true that Aunt Marthy’s house paints and entirely different, much less severe, picture of slavery than that of the garret, but still, it is a picture of slavery differing only in that it temporarily masks the harsh realities of slavery whereas the garret openly portrays them. The garret’s close proximity to the house is symbolic of the ever-lurking presence of slavery and its power to break down and destroy families and lives until there is nothing left. Throughout her novel, Incidents in the Life of a Slave Girl, Harriet Jacobs presents these and several other structures that suggest a possible retreat from slavery, may appear from the outside to provide such a retreat, but ideally never can. Among these structures are religion, literacy, family, self, and freedom.
In Harriet Jacobs Incidents in the Life of a Slave Girl, the author subjects the reader to a dystopian slave narrative based on a true story of a woman’s struggle for self-identity, self-preservation and freedom. This non-fictional personal account chronicles the journey of Harriet Jacobs (1813-1897) life of servitude and degradation in the state of North Carolina to the shackle-free promise land of liberty in the North. The reoccurring theme throughout that I strive to exploit is how the women’s sphere, known as the Cult of True Womanhood (Domesticity), is a corrupt concept that is full of white bias and privilege that has been compromised by the harsh oppression of slavery’s racial barrier. Women and the female race are falling for man’s
...shed in the articles last diagram depicting the ideal kitchen layout. The efficient household would be more simplified thus reducing the steps of the housekeeper’s work. The home would in turn shift from cultural and aesthetic principles to efficiency. Mrs. Frederick uses an example of hanging pots and pans thus to save one from bending over needlessly and repetitively. Much like Catherine Beecher, Mrs. Frederick’s article claims that a woman’s occupation is homemaking. Mrs. Frederick however compares her modern home to that of a factory. Where Mrs. Beecher believed the home should be Christian-like and pleasant.
Frequently at the relegated to the rear of the home and separated from other rooms for both technical and social reasons, the kitchen was not a public space and was considered the domain of those charged with domestic labor, either wives or servants. The contemporary trend of open plan kitchens reverses this abjection, placing the kitchen at the center of the home around which familial and social activity is structured. However this reversal has also replaced the previous abjection with a new form of anxiety, that of always being watched/available and the need of the domestic laborer to always be watching, surveying and managing the operations of the domestic interior landscape. Trading abjection for accessibility thus in the case of the kitchen also meant trading the possibility of a space of retreat from domestic labor for increased responsibility. Drawing on Foucault’s intersection of labor, architecture, and surveillance, within this politics of visibility and spatial efficiency we can return to Molesworth’s discussion of the subjectivity produced by modern kitchens with a greater understanding of the means by which it is both gendered and made