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Tom does not pity himself and the narrator does not pity him either.

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Instead, she seems to find in him a fellow creative spirit. Davis depicts Tom as a figure for her own position as a composer of literature.

Neither performer can see his or her audience, a situation that allows them freedom of expression—even when other freedoms are denied them. Fields entitled The Deaf and the Dumb. Fields initially rejected the novel, which most likely later became the work we now know as Margret Howth. I fear that I only have the power to echo the pathos without the meaning. The sculpture that he makes stands at the center of the text: naked, unsettling, and aggressive. Though Wolfe dies an anonymous criminal, his artwork is somehow preserved.

The sculpture made of waste by an industrial worker—a member of a supposedly disposable population—carries on in perpetuity. It ends with the sculpture. I have it here in a corner of my library. I keep it hid behind a curtain,—it is such a rough, ungainly thing. Sometimes,—to-night, for instance,—the curtain is accidentally drawn back, and I see a bare arm stretched out imploringly in the darkness, and an eager, wolfish face watching mine: a wan, woful [sic] face, through which the spirit of the dead korl-cutter looks out, with its thwarted life, its mighty hunger, its ARiEllE zibRAk unfinished work.

The gas-light wakens from the shadows here and there the objects which lie scattered through the room: only faintly, though; for they belong to the open sunlight.

As I glance at them, they each recall some task or pleasure of the coming day. Prophetic all! While the room is yet steeped in heavy shadow, a cool, gray light suddenly touches [the] head [of the korl woman] like a blessing hand, and its groping arm points through the broken cloud to the far East, where, in the flickering, nebulous crimson, God has set the promise of the Dawn.

This tableau has been read as a scene of bourgeois comfort that separates the narrator from Wolfe. Both Lawson and Pfaelzer categorize the art objects as the dilettantish trappings of a cozy domestic interior.

The narrator is also an artist and these fragments signify his or her connection to Hugh on a basis that transcends sympathy or pity, class or gender identification. Its purpose is to elevate the work of art, to keep passing its spirit forward in time. They were practical, slowly built up before him out of his knowledge of what he could do. Through years he had day by day made ARiEllE zibRAk this hope a real thing to himself,--a clear, projected figure of himself, as he might become.

Able to speak, to know what was best, to raise these men and women working at his side up with him. These visitors, like readers of reform realism, come to the mill seeking shock and titillation.

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Andrew Silver describes their visit as an example of picturesque travel—excursions to ruins, industrial sites, and slums that stand to offer a whiff of the Burkean sublime.

But instead of encountering the miserable lives of the workers as raw material for their own aesthetic visions, they see that the work of representation has already been accomplished by one of the workers himself. Davis is not subtle in her staging of the role of each visitor. Kirby is the utilitarian industrialist—his concern is for profits and he has little interest in improving labor conditions beyond maximizing production.

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May is more empathetic to their plight; a representative of the middle class, May pities men like Wolfe but is unwilling to make any personal sacrifice, no matter how small, to better their circumstances. May and Kirby lack even this moment of aesthetic identification. They lack the ability to read the sculpture beyond its literal significance.

The very material out of which the sculpture is made is deemed valueless, as is the body of the artist himself.

It is also dehumanized, as the wolfishness of her image, the korl statue, indicates. As Davis substitutes a generalized authorial identity for a specific one, the sculpture is all workers. Her story encourages readers to care about the plight of workers not through pity for the horrors of their circumstance, but through encouraging appreciation for the art that they produce.

By depicting those denied equal participation in society— women, working-class whites, and African-American slaves— as artists, Davis attempts to highlight their subjectivity, which the predominant reform literature tended to obscure.


Her portrayals of unappreciated artist characters in her fictions and her non-fiction prose, which derided the cultivation of celebrity, propose art itself as an alternative mode of social change that is not reliant on the specificity of identity required by the rhetoric of sympathy. The emphasis reform writers placed on individualism and their insistent appeals to coherent categories of political identity fostered the very divisions of society whose effects they protested.

Theirs was an end to slavery that promoted racism, an improvement in the living conditions of the working class that emphasized class otherness.

Davis saw privileged reformers on both sides of the Atlantic become famous by campaigning on behalf of the populations they objectified in their fictions. Her work reveals to us how triangulated reform, celebrity, and authorship became in the second half of the nineteenth century and how the rhetoric of celebrity reform—so central to the ways in which privileged Anglo-Americans came to think of their relationships to those who did not benefit from their systems—was seen by some as problematic from its very beginnings.

I have had no picture taken for nearly thirty years. Philadelphia: U of Pennsylvania P, , A second photograph of a relative, sometimes thought to be of an older Rebecca Harding Davis, is dated after her death.

There is, however, no way to prove any relation between the Davis considered by Twain and Stevenson in this anecdote and the Davis treated here. Ann S. John Sherwood, Edgar Fawcett. We know, for example, that the Alcott family subscribed to both magazines.

University of Pennsylvania, , Dowling argues that Davis and her husband, the journalist and editor L. Clarke Davis, wielded their combined influence in the periodical press to widely disseminate the message of asylum reform.

Joan D. Rose, Rebecca Harding Davis, Pfaelzer, Parlor Radical, Tester, Humanitarianism, 1. Tester, Humanitarianism, Christianson, Philanthropy in Fiction, Mock, Michele L. Elizabeth Gaskell, The Letters of Mrs. Que verse sobre hechos personales del confesante o de que tenga conocimiento.

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Brown suggests that we read the nakedness of the korl woman statue as a part of the mid-century tradition of divesting works of art of markers of historical particularity.

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