American women played in important part in Protestant foreign missionary work from its early days at the beginning of the nineteenth century, enabling them not only to disseminate religious principles but also to break into public life and create expanded opportunities for themselves and other women. No institution was more closely associated with women missionaries that Mount Holyoke College. This book examines Mount Holyoke founder Mary Lyon and the missionary women trained by her. Porterfield sees Lyon and her students as representative of dominant trends in American missionary thought before the Civil War. She focuses on how their activities in several parts of the world--particularly northwest Persia, Maharashtra in western India, and Natal in southeast Africa--and shows that while their primary goals remained elusive, antebellum missionary women made major contributions to cultural change and the development of new cultures.

In 1837, by virtue of dogged determination and never removing her sight from her goal, Lyon founded Mount Holyoke Female Seminary, the world's oldest continuing college for women. This volume draws together the major documents and writings of her remarkable career.

The biography of the woman who founded Mount Holyoke Female Seminary, helping to usher in a new era for women.

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American women played in important part in Protestant foreign missionary work from its early days at the beginning of the nineteenth century. This work allowed them to disseminate the Prostestant religious principles in which they believed, and by enabling them to acquire professional competence as teachers, to break into public life and create new opportunities for themselves and other women. No institution was more closely associated with women missionaries than Mount Holyoke College. In this book, Amanda Porterfield examines Mount Holyoke founder Mary Lyon and the missionary women she trained. Her students assembled in a number of particular mission fields, most importantly Persia, India, Ceylon, Hawaii, and Africa. Porterfield focuses on three sites where documentation about their activities is especially rich-- northwest Persia, Maharashtra in western India, and Natal in southeast Africa. All three of these sites figured importantly in antebellum missionary strategy; missionaries envisioned their converts launching the conquest of Islam from Persia, overturning "Satan's seat" in India, and drawing the African descendants of Ham into the fold of Christendom. Porterfield shows that although their primary goal of converting large numbers of women to Protestant Christianity remained elusive, antebellum missionary women promoted female literacy everywhere they went, along with belief in the superiority and scientific validity of Protestant orthodoxy, the necessity of monogamy and the importance of marital affection, and concern for the well-being of children and women. In this way, the missionary women contributed to cultural change in many parts of the world, and to the development of new cultures that combined missionary concepts with traditional ideals.

The U.S. invasion of Haiti in July 1915 marked the start of a military occupation that lasted for nineteen years--and fed an American fascination with Haiti that flourished even longer. Exploring the cultural dimensions of U.S. contact with Haiti during the occupation and its aftermath, Mary Renda shows that what Americans thought and wrote about Haiti during those years contributed in crucial and unexpected ways to an emerging culture of U.S. imperialism. At the heart of this emerging culture, Renda argues, was American paternalism, which saw Haitians as wards of the United States. She explores the ways in which diverse Americans--including activists, intellectuals, artists, missionaries, marines, and politicians--responded to paternalist constructs, shaping new versions of American culture along the way. Her analysis draws on a rich record of U.S. discourses on Haiti, including the writings of policymakers; the diaries, letters, songs, and memoirs of marines stationed in Haiti; and literary works by such writers as Eugene O'Neill, James Weldon Johnson, Langston Hughes, and Zora Neale Hurston. Pathbreaking and provocative, Taking Haiti illuminates the complex interplay between culture and acts of violence in the making of the American empire.

A New York Times Book Review Editors’ Choice, this engaging, insightful portrayal of Emily Dickinson sheds new light on one of American literature’s most enigmatic figures. On August 3, 1845, young Emily Dickinson declared, “All things are ready” and with this resolute statement, her life as a poet began. Despite spending her days almost entirely “at home” (the occupation listed on her death certificate), Dickinson’s interior world was extraordinary. She loved passionately, was hesitant about publication, embraced seclusion, and created 1,789 poems that she tucked into a dresser drawer. In These Fevered Days, Martha Ackmann unravels the mysteries of Dickinson’s life through ten decisive episodes that distill her evolution as a poet. Ackmann follows Dickinson through her religious crisis while a student at Mount Holyoke, which prefigured her lifelong ambivalence toward organized religion and her deep, private spirituality. We see the poet through her exhilarating frenzy of composition, through which we come to understand her fiercely self-critical eye and her relationship with sister-in-law and first reader, Susan Dickinson. Contrary to her reputation as a recluse, Dickinson makes the startling decision to ask a famous editor for advice, writes anguished letters to an unidentified “Master,” and keeps up a lifelong friendship with writer Helen Hunt Jackson. At the peak of her literary productivity, she is seized with despair in confronting possible blindness. Utilizing thousands of archival letters and poems as well as never-before-seen photos, These Fevered Days constructs a remarkable map of Emily Dickinson’s inner life. Together, these ten days provide new insights into her wildly original poetry and render an “enjoyable and absorbing” (Scott Bradfield, Washington Post) portrait of American literature’s most enigmatic figure.