In Poe’s Shadow: Frances Sargent Osgood

Bergmann, Ina

doi:10.1007/978-3-031-09019-6_9

Ina Bergmann⁵

Part of the book series: Palgrave Studies in Life Writing ((PSLW))

231 Accesses

Abstract

Historical biofiction has long been dominated by narratives of eminent men. Only relatively recently have women begun to step out of the shadow of these men and into their own biofiction. But, as Stephanie Bird already pointed out in Recasting Historical Women (1998), often it is still “the relation of the woman to the male subject” that is “of central concern” (5). This chapter explores herstorical biofiction with reference to Frances Sargent Osgood, an acclaimed nineteenth-century American poet. Soon after her death, Osgood was relegated to oblivion and her literary achievements eclipsed by her personal relationship with Edgar Allan Poe. To date, no book-length biography of Osgood exists, there is no collected edition of her works, and scholarly articles about her mostly revolve around her connection to Poe. It is two contemporary biographical novels which self-declaredly reclaim for Osgood her place in American literary history: John May’s Poe & Fanny (2004) and Lynn Cullen’s Mrs. Poe (2014). This chapter discusses how the novels rework Osgood’s biography into fiction; whether they can be approached for knowledge about Osgood’s life and work; whether their purpose is recovery and revision or nostalgia and voyeurism; and whether they are representative or symptomatic of contemporary herstorical biofiction in the US.

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Notes

1.
Nassim Winnie Balestrini and Ina Bergmann, “Intermediality, Life Writing, and American Studies: A Brief Introduction,” in Intermediality, Life Writing, and American Studies: Interdisciplinary Perspectives, ed. Nassim Winnie Balestrini and Ina Bergmann (Berlin: De Gruyter, 2018), 1–8.
2.
Hans Renders, Binne de Haan, and Jonne Harmsma, The Biographical Turn: Lives in History (New York: Routledge, 2017), 3.
3.
Ira B. Nadel, “Narrative and the Popularity of Biography,” Mosaic 20, no. 4 (1987): 136.
4.
David Shields, Reality Hunger: A Manifesto (New York: Vintage, 2011), 5.
5.
Lev Grossman, “The Trouble with Memoirs—An Author is Accused of Making up Key Parts of his Best-selling Life Story: Does Truth Really Matter?” Time Magazine, January 23, 2006, 3, http://content.time.com/time/subscriber/article/0,33009,1149383,00.html.
6.
Shields, Reality Hunger.
7.
Phyllis Rose, “Biography as Fiction,” Tri-Quarterly 55 (1982): 111; Ina Schabert, In Quest of the Other Person: Fiction as Biography (Tübingen: Francke, 1990), 58; John F. Keener, Biography and the Postmodern Novel (Lewiston: Edwin Mellem, 2001), 5.
8.
Keener, Biography, 1; Marjorie Perloff, “Introduction,” in Postmodern Genres, ed. Marjorie Perloff (Norman: University of Oklahoma Press, 1988), 4.
9.
Julijana Nadj, “Towards a Theory and Typology of Fictional Metabiographies: Forms and Functions of a New Genre,” in Anglistentag 2005 Bamberg: Proceedings, ed. Christoph Houswitschka, Gabriele Knappe, and Anja Müller (Trier: WVT, 2006), 411.
10.
Keener, Bibliography, ii.
11.
Ibid., 1.
12.
Ansgar Nünning, “Fictional Metabiographies and Metaautobiographies: Towards a Definition, Typology and Analysis of Self-Reflexive Hybrid Metagenres,” in Self-Reflexivity in Literature, ed. Werner Huber, Martin Middeke, and Hubert Zapf (Würzburg: Königshausen und Neumann, 2005), 195, 209.
13.
Herbert Grabes, Erfundene Biographien: Vladimir Nabokovs englische Romane (Tübingen: Niemeyer, 1975), my translation.
14.
Naomi Jacobs, “Michael Ondaatje and the New Fiction Biographies,” Studies in Canadian Literature 11, no. 2 (1986): 2–18.
15.
Schabert, In Quest.
16.
Annegret Maack, “Charakter als Echo: Zur Poetologie fiktiver Biographien,” in Klassiker-Renaissance: Modelle der Gegenwartsliteratur, ed. Martin Brunkhorst, Gerd Rohmann, and Konrad Schoell (Tübingen: Stauffenburg, 1991), 247–48, my trans.
17.
Annegret Maack, “Das Leben der toten Dichter: Fiktive Biographien,” in Radikalität und Mässigung: Der englische Roman seit 1960, ed. Annegret Maack and Rüdiger Imhof (Darmstadt: Wiss. Buchgesellschaft, 1993), 169–88.
18.
Wolfgang Hochbruck, “Metafictional Biography: Michael Ondaatje’s Coming Through Slaughter and The Collected Works of Billy the Kid,” in Historiographic Metafiction in Modern American and Canadian Literature, ed. Bernd Engler and Kurt Müller (Paderborn: Schöningh, 1994), 447–63.
19.
Stephanie Bird, Recasting Historical Women: Female Identity in German Biographical Fiction (Oxford: Berg, 1998).
20.
Jon Thiem, “Cultural Memory in the Novel of Biographical Quest,” in Genres as Repositories of Cultural Memory, ed. Hendrik van Gorp and Ulla Musarra-Schroeder (Amsterdam: Rodopi, 2000), 421–32.
21.
Max Saunders, Self Impression: Life-Writing, Autobiografiction, and the Forms of Modern Literature (Oxford: OUP, 2010).
22.
Julia Novak, “Experiments in Life-Writing: Introduction,” in Experiments in Life-Writing: Intersections of Auto/Biography and Fiction, ed. Lucia Boldrini and Julia Novak (Basingstoke: Palgrave Macmillan, 2017), 2.
23.
Alain Buisine, “Biofictions,” Revue des Sciences Humaines 224 (1991): 7–13. See also Martin Middeke, “Introduction,” in Biofictions: The Rewriting of Romantic Lives in Contemporary Fiction and Drama, ed. Martin Middeke and Werner Huber (Rochester: Camden House, 1999), 1–25.
24.
Novak, “Experiments in Life-Writing,” 9.
25.
Michael Lackey, “Locating and Defining the Bio in Biofiction,” a/b: Auto/biography Studies 31, no. 1 (2016): 8.
26.
Nünning, “Fictional Metabiographies,” 200–1.
27.
Ibid.
28.
Ina Bergmann, “Historical Biofiction: Writing Lives in Diane Glancy’s Stone Heart (2003) and John May’s Poe & Fanny (2004),” in The American Novel in the 21st Century: Cultural Contexts—Literary Developments—Critical Analyses, ed. Michael Basseler and Ansgar Nünning (Trier: WVT, 2019), 309–11; Ina Bergmann, The Nineteenth Century Revis(it)ed: The New Historical Fiction, Routledge Studies in Nineteenth Century Literature (New York: Routledge, 2021), 134.
29.
Bergmann, The Nineteenth Century Revis(it)ed, 131–38.
30.
Michael Lackey, “The Rise of the Biographical Novel and the Fall of the Historical Novel,” a/b: Auto/biography Studies 31, no. 1 (2016): 33–58.
31.
Ibid., 33.
32.
Bergmann, The Nineteenth Century Revis(it)ed, 3.
33.
Ibid., 2.
34.
Ibid., 44–46.
35.
Katherine Cooper and Emma Short, eds., The Female Figure in Contemporary Historical Fiction (Basingstoke: Palgrave Macmillan, 2012), 13.
36.
Bird, Recasting Historical Women, 5.
37.
Caitríona Ní Dhúill, Metabiography: Reflecting on Biography, Palgrave Studies in Life Writing (Cham: Palgrave Macmillan, 2020), 173 and 194.
38.
Virginia Woolf, A Room of One’s Own (San Diego: Harcourt Brace, 1928/1989), 45.
39.
Joan Wallach Scott, Gender and the Politics of History (New York: Columbia UP, 1988), 21.
40.
Robyn R. Warhol and Diane Price Herndl, “History,” in Feminisms: An Anthology of Literary Theory and Criticism, ed. Robyn R. Warhol and Diane Price Herndl (New Brunswick: Rutgers UP, 1997), 855.
41.
Susanne Rothaug, Autorinnen des amerikanischen Südens: Geschichte und Geschichtenerzählen (Paderborn: Schöningh, 2006), 40.
42.
Claudia Öhlschläger, “Gender/Körper, Gedächtnis und Literatur,” in Gedächtniskonzepte der Literaturwissenschaft: Theoretische Grundlegung und Anwendungsperspektiven, ed. Astrid Erll and Ansgar Nünning (Berlin: De Gruyter, 2005), 241; Ina Schabert, “Gender als Kategorie einer neuen Literaturgeschichtsschreibung,” in Genus: Zur Geschlechterdifferenz in den Kulturwissenchaften, ed. Hadumod Bußmann and Renate Hof (Stuttgart: Kröner, 1995), 181.
43.
Bird, Recasting Historical Women, 16; Julia Tofantšuk, “Time, Space and (Her)Story in the Fiction of Eva Figes,” in Metafiction and Metahistory in Contemporary Women’s Writing, ed. Ann Heilmann and Mark Llewellyn (Basingstoke: Palgrave Macmillan, 2007), 59.
44.
Linda Anderson, “The Re-Imagining of History in Contemporary Women’s Fiction,” in Plotting Change: Contemporary Women’s Fiction, ed. Linda Anderson (London: Edward Arnold, 1990), 130.
45.
Anderson, “Re-Imagining of History,” 130; Linda Gordon, “What’s New in Women’s History?” in Feminist Studies/Critical Studies, ed. Teresa de Lauretis (London: Macmillan, 1986), 28.
46.
Gerda Lerner, The Majority Finds Its Past: Placing Women in History (New York: Oxford University Press, 1979), 101.
47.
Bill Ashcroft, Gareth Griffiths, Helen Tiffin, “Introduction: Feminism and Postcolonialism,” in The Post-Colonial Studies Reader, ed. Bill Ashcroft, Gareth Griffiths, and Helen Tiffin (London: Routledge, 1995), 249; Rothaug, Autorinnen des amerikanischen Südens, 39–40; Ann Heilmann and Mark Llewellyn, “Introduction,” in Metafiction and Metahistory in Contemporary Women’s Writing, ed. Ann Heilmann and Mark Llewellyn (Basingstoke: Palgrave Macmillan, 2007), 3; Linda Nicholson, The Second Wave: A Reader in Feminist Theory (New York: Routledge, 1997).
48.
Linda Hutcheon, The Politics of Postmodernism (London: Routledge, 1989), 160.
49.
Jeannette King, The Victorian Woman Question in Contemporary Feminist Fiction (Houndmills: Palgrave Macmillan, 2005), 3. See also Heilmann and Llewellyn, “Introduction,” 2.
50.
Heilmann and Llewellyn, “Introduction,” 3.
51.
Diana Wallace, The Woman’s Historical Novel: British Women Writers, 1900–2000 (Basingstoke: Palgrave Macmillan, 2005), 204.
52.
Jörn Rüsen, Grundzüge einer Historik. Vol.1: Historische Vernunft: Die Grundlagen der Geschichtswissenschaft (Göttingen: Vandenhoeck und Ruprecht, 1983), 57, my translation. See also David Harlan, “Historical Fiction and the Future of Academic History,” in Manifestos for History, ed. Keith Jenkins, Sue Morgan, and Alun Munslow (New York: Routledge, 2007), 126.
53.
Rothaug, Autorinnen des amerikanischen Südens, 16.
54.
Öhlschläger, “Gender/Körper,” 227.
55.
Astrid Erll and Klaudia Seidel, “Gattungen, Formtraditionen und kulturelles Gedächtnis,” in Erzähltextanalyse und Gender Studies, ed. Ansgar and Vera Nünning (Stuttgart: Metzler, 2004), 184–85; Öhlschläger, “Gender/Körper,” 228.
56.
Hendrik van Gorp and Ulla Musarra-Schroeder, “Introduction: Literary Genres and Cultural Memory,” in Genres as Repositories of Cultural Memory, ed. Hendrik van Gorp and Ulla Musarra-Schroeder (Amsterdam: Rodopi, 2000), v.
57.
Bergmann, “Historical Biofiction,” 311; Bergmann, The Nineteenth Century Revis(it)ed, 137.
58.
Bird, Recasting Historical Women, 1.
59.
Rothaug, Autorinnen des amerikanischen Südens, 34 and 72.
60.
Bird, Recasting Historical Women, 1.
61.
Andrew Bennett and Nicholas Royle, An Introduction to Literature, Criticism, and Theory (London: Prentice Hall, 1995), 47.
62.
Middeke, “Introduction,” 18–19.
63.
King, The Victorian Woman Question, 6. See also David Glover and Cora Kaplan, Genders (London: Routledge, 2000), 18.
64.
Laura E. Savu, Postmortem Postmodernists: The Afterlife of the Author in Recent Narrative (Madison: Fairleigh Dickinson UP, 2009), 9.
65.
Paul Franssen and Ton Hoenselaars, “The Author as Character: Defining a Genre,” in The Author as Character: Representing Historical Writers in Western Literature, ed. Paul Franssen and Ton Hoenselaars (Madison: Fairleigh Dickinson UP, 1999), 18.
66.
Aleid Fokkema, “The Author: Postmodernism’s Stock Character,” in The Author as Character: Representing Historical Writers in Western Literature, ed. Paul Franssen and Ton Hoenselaars (Madison: Fairleigh Dickinson UP, 1999), 41.
67.
Nancy Pate, “‘Evermore’: Poe Lives On in His—and Others’—Tales,” Milwaukee Journal Sentinel, March 14, 2004. See also Steven Hockensmith, “Evermore: The Enduring Influence of Edgar Allan Poe,” Mystery Scene 99 (2007): 17.
68.
Linda Huf, A Portrait of the Artist as a Young Woman: The Writer as Heroine in American Literature (New York: F. Ungar. 1983); Rachel Blau DuPlessis, “To ‘Bear My Mother’s Name’: Künstlerromane by Female Writers,” in Tell Me a Riddle, ed. Tillie Olsen (New Brunswick: Rutgers University Press, 1985), 243–69.
69.
Buford Jones and Kent Ljungquist, “Poe, Mrs. Osgood, and ‘Annabel Lee’,” Studies in the American Renaissance (1983): 275–80; Mary G. De Jong, “Lines from a Partly Published Drama: The Romance of Frances Sargent Osgood and Edgar Allan Poe,” in Patrons and Protégées: Gender, Friendship, and Writing in Nineteenth-Century America, ed. by Shirley Marchalonis (New Brunswick: Rutgers University Press, 1988), 31–58; Burton R. Pollin, “Frances Sargent Osgood and Saroni’s Musical Times: Documents Linking Poe, Osgood, Griswold,” Poe Studies/Dark Romanticism: History, Theory, Interpretation 23, no. 2 (1990): 27–36; Burton R. Pollin, “Poe and Frances Osgood, as Linked through ‘Lenore’,” Mississippi Quarterly: The Journal of Southern Cultures 46, no. 2 (1993): 185–97; Mary G. De Jong, “‘Read Here Thy Name Concealed’: Frances Osgood’s Poems on Parting with Edgar Allan Poe,” Poe Studies/Dark Romanticism: History, Theory, Interpretation 32, no. 1–2 (1999): 27–40; Eliza Richards, Gender and the Poetics of Reception in Poe’s Circle (Cambridge. Cambridge University Press, 2004).
70.
John May, Poe & Fanny (New York: Plume, 2004), 297.
71.
John Evangelist Walsh, Plumes in the Dust: The Love Affair of Edgar Allan Poe and Fanny Osgood (Chicago: Nelson-Hall, 1980).
72.
De Jong, “Lines,” 56.
73.
May, Poe & Fanny, 293–98.
74.
Nünning, “Fictional Metabiographies,” 201.
75.
May, Poe & Fanny, 297.
76.
Ibid., 299–321.
77.
Ibid., 167.
78.
Ibid., 201.
79.
De Jong, “Lines,” 32.
80.
Sigrun Meinig, Witnessing the Past: History and Post-Colonialism in Australian Novels (Tübingen: Gunter Narr, 2004), 50.
81.
Birgit Neumann, “Literatur, Erinnerung, Identität,” in Gedächtniskonzepte der Literaturwissenschaft: Theoretische Grundlegung und Anwendungsperspektiven, ed. Astrid Erll and Ansgar Nünning (Berlin: De Gruyter, 2005), 165–67.
82.
Barbara Welter, “The Cult of True Womanhood, 1820–1860,” American Quarterly 18, no. 2 (1966): 152.
83.
Angelika Köhler, Ambivalent Desires: The New Woman Between Social Modernization and Modern Writing (Heidelberg: Winter, 2004); Ina Bergmann, “Working Girls: The New Woman in Juvenile and Adult Fiction by Elizabeth Stuart Phelps, Sarah Orne Jewett, and Mary E. Wilkins Freeman,” LWU (Literatur in Wissenschaft und Unterricht) 42, no. 4 (2009): 259–66.
84.
May, Poe & Fanny, 221 and 228.
85.
May, Poe & Fanny, n. pag.
86.
Ibid.
87.
Nünning, “Fictional Metabiographies,” 201.
88.
Lynn Cullen, Mrs. Poe (New York: Gallery Books, 2014), 311–14.
89.
Cullen, Mrs. Poe, 186.
90.
Ibid., 301.
91.
Ibid., 98.
92.
Ibid., 11.
93.
Ibid., 42.
94.
Ibid., 271.
95.
Ibid., 23.
96.
Ibid., 178.
97.
Ibid., 262.
98.
Ibid., 293.
99.
Ibid., 113.
100.
Ibid., 293.
101.
Ibid., 22.
102.
Ibid., 6.
103.
Ibid., 89.
104.
Ibid., 247.
105.
Ibid., 251.
106.
Ibid., 268.
107.
Ibid., n. pag.
108.
Ibid., 235.
109.
Nünning, “Fictional Metabiographies,” 201.
110.
Ibid.
111.
Astrid Erll, Memory in Culture, trans. Sara B. Young (Basingstoke: Palgrave Macmillan, 2011), 144–71.
112.
Ní Dhúill, Metabiography, 175.
113.
Ibid., 192.
114.
Ibid.
115.
Ibid., 193.
116.
Ibid., 195.
117.
Bergmann, “Historical Biofiction,” 315; Bergmann, The Nineteenth Century Revis(it)ed, 158.

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Julius-Maximilians-Universität Würzburg, Würzburg, Germany
Ina Bergmann

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Department of English and American Studies, University of Vienna, Vienna, Austria
Julia Novak
Department of German, University College Cork, Cork, Ireland
Caitríona Ní Dhúill

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Bergmann, I. (2022). In Poe’s Shadow: Frances Sargent Osgood. In: Novak, J., Ní Dhúill, C. (eds) Imagining Gender in Biographical Fiction. Palgrave Studies in Life Writing. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-09019-6_9

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DOI: https://doi.org/10.1007/978-3-031-09019-6_9
Published: 16 December 2022
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-031-09018-9
Online ISBN: 978-3-031-09019-6
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