Photo Credit: Theodore Roosevelt as the Badlands hunter by George Grantham Baine, 1885, New York City: w:en:Beao/Wikimedia Commons/PD US
There have been a lot of caricatures and stereotypes of Theodore Roosevelt. For example, there is the impression given of a small man with a big voice in the popular 1944 film Arsenic and Old Lace, where actor John Alexander puts a screwball comedy twist on Roosevelt by portraying him as a loud, aggressive, “take charge” kind of guy as in this scene. Then there is the Bugs Bunny cartoon where Bugs appears in a fake handlebar mustache and spectacles, waving a “big stick” around.
But Roosevelt was a complex man who had many talents and passions, and his Gilded Age persona (before he became president in 1901) gives us a glimpse at the extraordinary person he was. He was the ultimate Gilded Age hero who met with adversary using strength and eloquence. He threw himself into any endeavor and that included politics, ranching, writing, and war in the last quarter of the 19th century, all before he entered the White House
Roosevelt, though, was not one of these presidents that came from humble beginnings. In fact, he was born into a family much like the Alderdices, my wealthy San Francisco family in the Waxwood Series. He was born of privilege and ease and, in fact inherited a large sum of money as a young man upon his father’s death that allowed him to live in the lap of luxury the rest of his life. But, like many Gilded Agers, he pursued several careers to prove his worth as a man. Even as a child, he never let the “big boys” bully him. The infamous story of his passion for boxing came about when he was beat up by two older boys on a camping trip. Determined never to allow such a thing to happen again, he took up the “strenuous life,” involving himself in boxing, rowing, and hunting (among other athletic activities) and advocated for boys and men to take up vigorous exercise and competitive sports as a way of developing not only the muscles but the mind as well.
Roosevent’s pre-presidential career was shadowed by political aspirations but his interests were also taken up by other (decidedly masculine) pursuits. He was passionate about naval history and published several books on the subject (including a book on the role of the navy in the war of 1812). This knowledge served him well in 1896, when he was appointed Assistant Secretary of the Navy, a position that helped usher him into the famous role he played in America winning the Spanish-American War. He wrote other books on hunting (one of which is referenced in False Fathers, the second of the Waxwood Series), conservation, and ranching, many of which were published before he became president. He wrote about these things from experience, as in between his years as a rising political figure in the Gilded Age, he retired to a ranch in the Dakota Territory and lived the life of a cowboy. He also spent a time as police commissioner of New York, cleaning up the rather haphazard ways of law enforcement at that time.
I find it interesting that Roosevelt sought to make a name for himself in the very spheres which the Victorians deemed appropriate for the manly man (I talk about the concept of the separate spheres for men and women in the 19th century here). From politics to ranching to sports, he went full force into the areas that, at that time, were the true test of manhood. The emerging ideal of masculinity that was abut aggression, success, control, and cunning were largely created by him, both before and during his presidency.
In False Fathers, those same masculine ideals are what drive Jake in his journey toward figuring out who he is after his grandfather dies and he is left, at twenty-one, to shoulder the burden of not only his own coming-of-age, but of his responsibilities as the new family patriarch. The main father figure who guides him in the book, Harland Stevens, is a staunch supporter of Theodore Roosevelt and his manly way of life and quotes him often in the book.
You can find out more information about False Fathershere You can also read more about the series here.
Photo Credit: Fanciful sketch of a New Year’s Eve celebration, Marguerite Martyn, 1914, St. Louis Post-Dispatch, 4 January 1914, Editorial Section: BeenAroundAWhile/Wikimedia Commons/PD US
Since this is the holiday season, I’ve been reflecting on the holidays in history, particularly in the 19th century. I wrote about Thanksgiving and, in an older blog, Christmas in the Gilded Age. No historical holiday discussion could be complete without New Year’s.
We have a lot of New Year’s traditions, and it’s fascinating to see where they came from and why. For example, New Year’s has always been a social holiday, more so than Thanksgiving and Christmas, which have been (and still are) mainly family holidays. But the nature of that socialness has changed over time. In the mid-19th century, it was not uncommon to have a “watch night” on New Year’s Eve, where people (especially in rural areas) would watch and wait for the clock to strike midnight so they could leave their old sins behind and begin the new year fresh.
The ones who turned New Year’s into a party holiday was, not surprisingly, the Gilded Agers, and for the same reasons they turned Thanksgiving into a lavish extravaganza of dining out. They wanted to show off, to let all their wealthy and success glitter and glow, basking in their social and financial glory. So they began to throw lavish parties and “invitation only” balls, providing eight-course dinners, and generally making a lot of noise and spectacle. Many of the Gilded Age wealthy who had lavish summer homes in places like Newport started throwing extravagant parties for the new year in those homes that were the envy of may of their contemporaries and of the non-wealthy.
There were other traditions that became staples of what we accept as New Year’s celebrations that came in the 19th century. One of them is the singing of the song “Auld Lang Syne,” a song that signals the sentimental farewell to old friends and experiences. The song was actually an 18th century ballad composed by Scottish poet Robert Burns, and the tradition of singing it at midnight on New Year’s Day began in the mid-19th century, though it wasn’t until later in the 1920s that it became a permanent staple of our New Year’s celebrations.
And the famous New Year’s Eve ball, that gigantic globe of light that drops at midnight every year in Times Square? That originated in 1904 and was first dropped for on New Year’s Day in 1905. The original ball was seven hundred pounds of iron and wood and populated with a hundred light bulbs. The ball has been updated several times, the last time in 2008, so that it now weighs over twelve hundred pounds and, rather than be lowered by hand with ropes, now uses a laser atomic clock located in Colorado.
I don’t think it’s a far stretch to say that we still do, in a way, have our “watch night” where we wait impatiently for the midnight hour to strike so that we can let go of the old year and enter the new. In fact, the reason why New Year’s Day is January 1 has to do with just that idea. Julius Cesar was the one who implemented the new calendar year to begin on that day, naming the first month of each new year January after Janus, the Roman god of new beginnings. Janus has two faces — one face facing front and the another face in the back of his head. Why? So that he can look back to the past and look forward to the present and future. For anyone who has read my fiction, this is exactly what my characters do. So, in essence, if I had to chose a holiday that belonged to the Waxwood Series, it would be New Year’s.
To find out more about the Waxwood Series, please visit this link. The first book of the series, The Specter can be found here and the second book here. The third book will be out in the summer of 2020 and the fourth and last book will be out at the end of 2020 (just in time to celebrate the coming of another new year 🙂 ).
False Fathers Front Cover Photo Credit: Photo Credit: Portrait of a Young Man, Ferdinand von Wright, 1860s, portrait, oil on canvas, Finnish National Gallery: BotMultichill/Wikimedia Commons/PD old 100 expired
Title: False Fathers
Series: Waxwood Series, Book 2
Author: Tam May
Genre: Historical Fiction/Coming of Age
Release Date: December 28, 2019
Sometimes no father is better than a false father.
At nineteen, Jake Alderdice is shy, contemplative, and passionate about art. With the death of his grandfather, shipping magistrate Malcolm Alderdice, he becomes the new family patriarch and heir to Alderdice Shipping and Alderdice Luxury Liner. After two years of mourning, he is ready to add to the family honor just as all the Alderdice men have, but as an artist, not a shipping magistrate. His plans are delayed with his mother announces the family will be retreating to Waxwood, now a fashionable resort town favored by the San Francisco elite, for the summer, fulfilling her father’s dying wish to “go back”.
On the train, he meets Harland Stevens, an enigmatic but charming older man, who has come to Waxwood as chaperone and guide to his college-aged cousin Roger and Roger’s friends. Mr. Stevens, or, as he tells Jake, “just Stevens”, takes an interest in the young man’s ambitions, and introduces him to the town’s most prominent gallery owner. But when Jake takes his paintings for appraisal, the man delivers a fatal blow — Jake’s mythology-inspired paintings are too original for the market of realistic landscape paintings favored by Gilded Age patrons.
Stevens seizes the devastated and wandering Jake and counsels him toward a more aggressive but moralistic path to manhood inspired by Teddy Roosevelt and Thoreau. Jake proves himself to be more studious and serious than Roger and his friends. Impressed with the young man’s determination to take over his grandfather’s business, Stevens introduces him to The Order of Actaeon, a secret society built upon those ideals favored by his idols.
But the path to emotional maturity and masculine identity is, Jake learns, a complex thing in the Gilded Age. Will his journey free him from the Alderdice family illusions, half-truths, and lies that have kept him a child, just as it did his sister Vivian’s six years before? Or will it lead him into the world of Actaeon, where the hunter becomes the hunted?
You can pick up your copy of the book at a special promotional price at the following online retailers:
The afternoon sun had arrived with its vengeance of rising heat. Jake took out his handkerchief and wiped at his forehead. At the same time, he felt something inside him shiver. He couldn’t help but think of what Vivian would have said, if she had heard the tale. He knew she would have found it one more reason to avoid Stevens, as the story would have struck her as another way in which Roger had been right about the way in which Stevens and his father engineered their will against the will of others.
“I suppose your father understood you.” He put the handkerchief away and made a shot through the hoop in front of him.
As Stevens set down his mallet down, Jake felt the weight of his expectant eyes. “I thought you would change your mind.”
“Change my mind?”
“About needing guidance,” said the redhead. “You needn’t be abashed. Other young men such as yourself have come to me when they needed a father too.”
“I didn’t say I needed a father.” Jake looked at the tussled grass at his feet. “I only meant I would be grateful for any ideas you have for me about my new undertakings.”
“As you wish,” said Stevens, though his eyes sparkled in the sun.
About the Author
Tam May grew up in the United States and earned her B.A. and M.A in English. She worked as an English college instructor and EFL (English as a Foreign Language) teacher before she became a full-time writer. She started writing when she was 14, and writing became her voice. She writes fiction about characters who find their future by exploring their personal past influenced by the time in which they live.
Her first book, a collection of contemporary short stories titled Gnarled Bones And Other Stories, was nominated for a 2017 Summer Indie Book Award. She is currently working on a Gilded Age family saga. The first book, The Specter, is now available, and the second book, False Fathers, will be out in December, 2019. She is also working on a historical mystery series featuring a turn-of-the-century New Woman sleuth. Both series take place in Northern California.
She lives in Texas but calls San Francisco and the Bay Area “home”. When she’s not writing, she’s reading classic literature and historical fiction, watching classic films, or cooking up awesome vegetarian dishes.
In an earlier version of False Fathers, my second book in the Waxwood Series, Jake Alderdice tells his mother how people have always thought of him as an “odd duck.” To me, this summarized Jake’s character not only in the story but in the canon of my own writing.
I won’t lie. Writing about Jake was a struggle for me for many reasons. On the one hand, since the Waxwood Series is about the deterioration (physically, mentally, and emotionally) of the Alderdice family, Jake’s story had to be told since he’s Vivian Alderdice’s younger brother. But I was nervous about writing the story of a male main character, even though Jake’s psychological reality was familiar to me.
The story I conceived of Jake in the original 3-part novel about the Alderdice family (which I talk about here) included Jake’s story. In fact, his story is the only one that remains more or less true to my original conception of it from that novel, in the sense that Jake comes of age amidst psychological circumtances many young men usually don’t have to deal with. But I realized when I started rewriting the story that I didn’t really know Jake at all. My own uneasiness about writing male characters (especially central ones) kept me from really digging deep into his character. I knew some things about him — that he was an artist, taught by his grandmother, that his mother had a particular loathing for him she didn’t have for his sister, and that his identity as a man (and the only surviving male of the family) was instrumental to his evolution. I liked him, but he felt remote to me, much more so than his sister Vivian or Gena Payne, the main character in Book 3 of the series.
What gave shape to the character of Jake was the historical time frame. When I wrote the book as contemporary fiction, Jake didn’t seem all that much different from other young men. He didn’t go for “sowing his wild oats,” but so do a lot of young men these days. He was an artist, but so are many others. His mother treated him as if he were a mistake, but so do a lot of other mothers (unfortunately).
So why did the historical context change this? Simply, I started to see Jake’s character against the backdrop of the Gilded Age. The psychology of gender has always interested me, not only regarding women but men as well. When I started researching masculinity in the Gilded Age (some of which I talk about here and here), I realized how complex the idea of what it meant to be a man back then was, almost more complex than what it was to be a woman (since women had some support with the suffragist movement and the New Woman ideal). As I wrote the drafts for this book, I got to know Jake better and understood his struggle to figure out who he was, not only in the shadow of the family half-truths, lies, and myths, but with his own personality and quirks that did not suit the growing ideals of masculinity at the end of the 19th century.
So he became a character I appreciated and thought I could make readers appreciate as someone looking for what he wanted to be in a chaotic world with contradicting messages and conventions (not unlike young people in our world today). I could see not only his struggles, but also what he learns about his family, those around him who profess to help him, and, most importantly, himself.
To learn more about Jake, you can check out the series page here. To order your copy of False Fathers, which is now at a special preorder price, go here. Plus, you can read a bonus excerpt from the book if you join my readers group here.
As the title of the second book in the Waxwood Series, False Fathers, suggests, the idea of fathers plays a huge role in the story and in the psychological reality of Jake Alderdice, the main character. Like everything else in the Gilded Age, fatherhood was a complex and changing concept in the late 19th century.
Before the 19th century, the role of the father was less removed from the family. Since so many Americans lived in rural towns and kept farms or other small ma-and-pa businesses, fathers worked close to home and sometimes even alongside their families. Their involvement with their wives and children was more intimate because of their close proximity to their families.
But this changed in the 19th century, and the concept of the separate spheres played a role. As industrialization and urbanization became the norm for many families (that is, families moved to the cities, and men worked in larger companies owned by someone other than themselves), men’s “place” was regulated more to the pubic sphere. That is, their attention shifted to the larger spaces of business, law, and finance. As such, fathers were more detached from what went on in the home, though they still maintained a certain level of control as the main disciplinarians and educators of their children. The separate spheres also put women more firmly in private places such as the home. Their role as mothers and caregivers became more important, thus removing fathers even further from the day-to-day workings of the family.
We also want to remember the characteristics of the Gilded Age — success at any price, excess, and flaunting wealth. This was an ideal many American men wanted to achieve and, as such, they needed to put all of their focus on their business and financial endeavors to get it. This didn’t leave them much time or emotional energy to devote to their families. Thus, the identity of the father became one of the bread-winner.
There was something else that factored into the extrication of fathers from family life — public schooling. Up until the 1850’s, sending children to public schools was optional. As I mention above, many Americans were still living in rural areas and tending to farms or small businesses. In this atmosphere, children were often times given a very spotty education that depended more upon when they were needed to help out with the family (for example, on the family farm or during harvest seasons) than upon the idea that children should get a steady education. But in the 1850’s, that began to change as states issued laws that made sending children to public schools mandatory. Although the transition to mandatory public schooling for all states didn’t happen until the late 1910’s, it took the role of educator out of the hands of many fathers.
But while fathers lost their hold on their children as educators, their role shifted to business advisors, mainly for their sons (since most women did not and weren’t expected to work). This put the emotional connection between fathers and sons on a different level, a more authority-oriented level that we can imagine may have been somewhat less affectionate than it had been in earlier times. This is indeed the role various father figures take in relation to Jake in False Fathers. Much of his struggle for masculine identity lies in what his future success in the public sphere will look like. In this, he asks and receives help from a number of older men in the book.
I realize this paints a pretty dismal picture of fatherhood in the 19th century, since it makes it sound as if men were little more than bread-winners and business advisors for their families. This is not to say that fathers were emotionally remote from their wives and children by any means (as the painting above shows). And, in the 1920’s, when women had earned more of their rights, they began to demand men share in the raising of their families, both physically and psychologically. In turn, men themselves were advocating for this, starting a Fatherhood Movement which, thankfully, has gained a lot of ground today and continues to do so.
To read more about False Fathers (which is now on sale at a special preorder price), you can go here. If you want to find out more about Jake and other characters in the Waxwood Series, read the series page here. And if you’d like to read an excerpt from False Fathers, you can join my readers group.
The drawing above is the prototypical Gibson Girl — young, wearing a shirtwaist (button-down white shirt), sensible and athletic skirt and jacket and hat. Interestingly, her features are very delicate and feminine and her expression is flirtatious so as to emphasize the idea that she was there to serve men, not threaten them.
Photo Credit: Gibson Girl, Charles Dana Gibson, 1901, pen and ink drawing, published in The Social Ladder (1902) by Charles Dana Gibson: MCAD Library/Flickr/CC BY 2.0
Last week, I wrote about American women’s suffragism in the 19th century, in honor of the 99th anniversary of the ratification of the 19th amendment in America which allowed women in all states to vote. This week is Women’s Equality Day, the day that celebrates when the amendment actually went into effect. So, continuing the discussion of women’s rights, which is so prevalent in my fiction, I’m talking this week about the sort of women who epitomized the new type of woman that was emerging in the 20th century.
Suffragism, the right to vote, might seem to be just about politics, but it really isn’t. It’s almost as much about the psychological realities of the group which it affects as it is about their political and social rights. In the case of women, the past offered them many years locked in the cage of the separate sphere ideology. The separate spheres placed boundaries on women that permeated not only their physical lives but their emotional and spiritual lives as well. When women’s suffragism came to the forefront and, with it, awareness that women needed to break free of the limitations put upon their mothers and grandmothers and great-grandmothers, it was only natural that a new kind of woman should emerge at the turn of the century.
The New Woman was the name given to young women who came of age in the latter part of the Gilded Age and in the Progressive Era. In the wake of so many changes happening during these times — the shift from rural to urban living for many Americans, the rise of big business, the awareness of the need for political reforms — women wanted and needed to be more active in public life. This made it impossible for the “angel in the house” ideal so prevalent in Victorian women to survive. In fact, the New Woman pitted herself against this ideal hanging over the head of her female ancestors, rejecting the ideals of complacency, docility, and submissiveness that characterized Victorian true womanhood for much of the 19th century.
The New Woman was anything but these things. Illustrator Charles Dana Gibson first created her in the 1890’s in women’s magazines such as Ladies Home Journal as young and single, pursuing fun and leisure with as much right and vigor as her male companions. The physical image of the Gibson Girl (pictured above) was also a psychological one. Gone were the layers of petticoats, the bustles, the tight bone corsets of the Victorian woman that made her look demure but limited her mobility considerably (a physical constraints that mirrored the psychological one). In her place was a woman whose skirt was narrower and freer, who wore less layers, dressed in a button-down shirt rather than a tight bodice blouse, and wore a much lighter corset that didn’t limit her mobility as much as the corsets worn by her mother and grandmother.
Her freedom extended well beyond her dress. She used her liberty to establish her own identity separate of any man’s, and prove her strength not only emotionally but physically as well. It’s no surprise that, although the bicycle was invented in the early 19th century, bicycling was not an acceptable activity for women until the 1890’s, because the fussy dress in which they were expected to present themselves as True Women didn’t allow for a comfortable ride. That changed with the Gibson Girl, who was often depicted as a bicycle enthusiast. In addition, the New Woman was not only willing to take on sports but male-dominated careers as well. For example, in Gertrude Atherton’s novel Mrs. Belfame (1916), the New Woman appears in the form of women reporters who cheer Mrs. Balfame on when she is on trial for the murder of her husband. They are willing to stoop to the type of “yellow journalism” popular among their male contemporaries at the time.
However, while the New Woman represented a fresh, contemporary approach to womanhood, she wasn’t necessarily a rebel. That is, she gave women a new image to look up to but not one that would threaten the male order. In fact, she offered an alternative femininity to their mothers and grandmothers that would benefit their male counterparts, not take away from them. Gibson, for example, frequently pictured his ladies engaged in the art of flirtation and romance, establishing that despite her “masculinized” appearance and manners (for that time, that is), she was still “just a woman,” out for love and marriage.
As I’ve mentioned before, women’s suffragism and women’s rights play only a small role in my Gilded Age family saga, the Waxwood Series. One of my characters, Marvina Moore, is a suffragist and helps Vivian discover her own dedication to women’s rights in the series. But neither women are New Women, though one could predict that Vivian won’t be far off at the end of the series when the Progressive Era comes around.
However, in my upcoming historical mystery series, The Paper Chase Mysteries, the series protagonist, Adele Gossling, is this type of New Woman. She is the Gibson Girl image in her manner and dress and also in her life. The opening of the first book has Adele arriving to the small town of Arrojo, California, a town still caught inside the net of Victorian ideals as many small towns were at the turn of the 20th century, in a Model A Ford. A woman owning an automobile in 1903 would have been a rare thing! She soon establishes herself in town as an independent woman who owns her own home and runs her own stationary shop and prefers to help her deputy brother and the town sheriff solve crimes than participate in the type of social events of women of her class that were meant for one purpose and one purpose only — to allow young women to meet young men and eventually marry.
To find out more about my upcoming historical mystery series, you can check out this page. If you’d like to know more about Vivian and Marvina, you can read The Specter, the first book of my Waxwood Series. You’ll find information and buy links here.
Photo Credit: Susan B. Anthony and Elizabeth Cady Stanton, the godmothers of the women’s suffragist movement, in the Gilded Age, 1891, Library of Congress, Prints and Photographs Division: Taterian/Wikimedia Commons/PD US expired
Last week, on August 18, to be exact, was the 99th anniversary of the day that the 19th amendment (giving women the right to vote) was ratified in America. I have written many times in my blog posts about the fact that women’s social and psychological position in history is of paramount interest to me and plays a role often in my fiction. This is true of The Specter, the first book of my Waxwood Series. I talk more about that in my blog post about why I write women’s fiction.
So in honor of the day, I thought I’d look into women’s suffragism in America in the 19th and early 20th centuries, before the amendment was ratified, which was in 1920. First, we must distinguish between women’s suffragism and women’s rights, because they are actually not the same thing. The former refers only to the political right for women to vote. The latter, on the other hand, is a broader term that encompasses more specific political, social, economical, and psychological aspects of women’s freedom to act and be. Once women got the right to vote, women’s suffragism was no longer necessary, but the fight for other rights for women was and still is.
Why were women so concerned about getting the right to vote in the 19th century? Actually, they weren’t — no at the beginning, that is. By the “beginning”, I mean the 1840’s when the idea of women’s suffrage was first formed. The Seneca Falls Convention is generally considered the birth of the women’s suffragist movement and for good reason. It was the first time women organized to discuss their rights and make decisions as to what they wanted to accomplish in their efforts to ensure women were seen and treated as free and equal beings. The convention participants made eleven resolutions to this effect, all of which you can read fully here. What is interesting to me is that these resolutions keep within the framework of the separate spheres. Women were expected to remain in the private sphere, that is in the home and church, perceived as “angels in the house” — virtuous, morally superior to men, and too fragile to handle the dog-eat-dog world of the public sphere. The majority of resolutions don’t challenge this perception and in fact ask for equal and respectful treatment of women in their own sphere. There is one exception — Resolution #9, which declares the right of women to vote. Not surprisingly, this was the only resolution to stirred up controversy and was not voted unanimously by the participants. It may have been that the idea of women having a voice in the public sphere was too revolutionary to consider at that time.
However, in the Gilded Age, the idea of women having the vote started to become feasible in the minds of many women suffragists. Women’s political organizations began to form in the 1870’s specifically geared toward pushing government to pass an amendment allowing women to vote. Several women, including Susan B. Anthony, one of the godmothers of the Seneca Falls Convention, boldly went to the polls to vote and were turned away. Anthony succeeded in voting and was arrested for doing so. Women filed lawsuits but the Supreme Court ruled in 1875 to reject women’s suffragism as a right, claiming that the constitution does not grant suffragism to any group, including women.
Women suffragism had many detractors, both male and female, and caricatures abounded in the papers. Here’s one where the supposed horrific consequences of giving women the vote is depicted, with women lining up to vote for the “Celebrated Man Tamer” while the harassed-looking man at the end of the line has a baby thrust in his arms to allow his wife to vote.
Photo Credit: The age of brass. Or the triumphs of women’s rights, Currier & Ives, 1869, lithograph, New York: Churchh/Wikimedia Commons/PD US
After this failure, women suffragist groups took a different tactic, one that is distinctly American. They figured that if they could lobby individual state legislators so that laws were passed granting women the vote in individual states, the federal government would soon follow. They were right, though it took about forty years. But by 1920, when the 19th amendment was ratified, according to the U.S map here, about three-quarters of the states had either granted full voting rights to women or partial voting rights.
Many of us have heard of the guerrilla tactics used by women suffragists in Great Britain which were dramatized in the 2015 film Suffragette. Interestingly, American suffragists used less militant tactics to reach their goal. They mainly lobbied, petitioned, and picketed. This is not to say some didn’t experience their fair share of violence, though. One infamous example is the 1917 Night of Terror, where women’s picketing the White House led to torture and violence when they were jailed. However, a year later, the courts ruled that jailing suffragists was unconstitutional, and, two years later, women in all states in the nation gained full voting rights.
Women suffragism doesn’t play a big role in terms of the political stage in the Waxwood Series, though there are certainly stirrings of it. A minor character in the series, a wealthy widow named Marvina Moore, befriends Vivian and becomes a supporter of suffragism, educating Vivian as the series progresses. In my upcoming historical mystery series, The Paper Chase Mysteries, women’s suffragism plays a more active role in Adele’s character, especially her views on the more militant aspects of the movement.
To learn more about The Specter and order a copy, go here. To learn more about the Waxwood Series, you can take a look at this page on my website. If you like mysteries and are interested in finding out more about The Paper Chase Mysteries, you can do so here.
The idea behind the cartoon is that big business controlled government during the Gilded Age. In this cartoon, big business is represented by “the robber barons”, the name given to railroad company tycoons (and the businesses that made them possible, such as steel), pictured as bloated bags of money lording over the tiny mice of the senate.
“‘I wasn’t worth a cent two years ago, and now I owe two millions of dollars.’” (Twain and Dudley Warner, location 2837)
A few months ago, I wrote a blog post taking a personal look at the era which I chose to place my Waxwood Series. This post is a sort of prequel to that.
I love this opening quote from Mark Twain and Charles Dudley Warner’s The Gilded Age: A Tale of Today, published in 1873, as it personifies one of the main philosophies of that era – it was all about faking it until you made it. Indeed, the Gilded Age wasn’t so much about how much success or wealth you had as how well you made everyone think you had.
There is some dispute as to what timeframe constitutes the Gilded Age. Many historians and scholars agree the era began in the 1870’s (with the publication of Twain and Dudley Warner’s book). But as to its end, that’s up for debate. Some consider the mid-1890’s the end of the era while others push its end all the way to 1900. Bcause the new century brought about the Progressive Era and its backlash ideals of the Gilded Age, I prefer to consider the era as ending at the turn of the century.
Ironically, the title of Twain and Dudley Warner’s book wasn’t intended as a label (just as no one intended to put labels on our more modern eras, such as the Lost Generation, the Baby Boomers, and the Millennials). Since both writers were well-known humorists, the title their book is a tongue-in-cheek dig against the social and political events of the second half of the 19th century. But, like many humorists, their dig turned out to be wildly accurate. Twain and Dudley Warner observed what was going on around them and used it as fodder for their fiction, as many writers do. They had a keen eye toward not only toward the staggering opulence and excess of this period but also its more parasitic cousins, greed, graft, and corruption.
When Twain and Dudley Warner published their book in 1873, America had just gone through a rather heavy recession that ended in the Panic of 1873. Americans intended to bounce back, financially and politically, with full force, showing that the United States could compete with any other global power. The problem was that, in politics and finance, many used ingenious but dirty methods to do it. Well known was the political corruption of the Grant administration and the graft and crime prevalent in “Boss” Tweed’s administration in New York City, for example. If you’ve been reading my books, you know I am largely a San Francisco/Bay Area writer and San Francisco didn’t exactly escape these more devious characteristics in the Gilded Age. Many of the well-known San Francisco millionaires were made in the city during this time, such as “the Big Four” railroad barons Collis Huntington, Leland Stanford, Charles Crocker, and Mark Hopkins. In addition there flourished of one of the most infamously sin-laden spots in America at that time, the Barbary Coast.
This painting represents the kind of gaudy glitter and extravagance common among the very rich during the Gilded Age, especially when they entertained.
All this wheeling and dealing created a new class of wealth. Novelists such as Edith Wharton and Henry James wrote about “old money” families who were forced to make way for the nouveau riche. Interestingly, San Francisco was both similar and different in this respect. Gertrude Atherton’s book The Sisters-in-Law https://www.amazon.com/Sisters-Law-Gertrude-Franklin-Atherton-ebook/dp/B0082SWSW0/, which I’ve mentioned on my blog before, gives an interesting snapshot of Bay Area aristocrats during this time and at the turn of the century who held on to strict codes of society (such as snubbing any woman who wanted to build her own business) but accepted more readily the nouveau riche because the youth of the west made old money families more scarce than they were in the east.
The rich in America considered it their privilege to flaunt their wealth with lavish homes and summer homes, balls and social events, and an outrageously expensive lifestyle that most could only gape at. The very rich became very extravagant, sometimes ridiculously so, displaying their money and social power even in the face of the growing poverty and working class resentments that would explode into violence and social change herding America in the Progressive Era.
The Gilded Age, then, became notorious for gaudy, show-offish displays of the socially privileged. Shady dealings made millionaires out of people of humble origins who were eager to get into society and, in fact, one might argue the opulence of the age prompted this widespread corruption as making money became “the thing”. A notorious example of this sort of personage is Simon Rosedale in Edith Wharton’s The House of Mirth. Rosedale is rather aggressive, seedy character whose rags-to-riches rise to fame made him an unavoidable parasite in the New York social circle in which the protagonist Lily Bart moves.
The more I write of the Waxwood Series, the more the realities of the Gilded Age come into conflict with who the characters are. This happens with Vivian, the unofficial protagonist of the series. She begins as a Gilded Age debutante of a wealthy San Francisco family (whose wealth was actually made well before the age) and gradually realizes the expectations put on her by her social status and the separate spheres conflict with her psychological reality and her journey through the last years of the century bring her to a different place in the world. Similarly, in my work-in-progress, Tales of Actaeon, Jake, Vivian’s younger brother, comes of age in a skewed and chaotic era when the meaning of masculinity was transitioning from the Victorian gentleman of honor, responsibility, and hard work to a more Teddy Roosevelt ideal of aggression, sportsmanship, and ambition.
To read more about The Specter and order your copy, check out this link.
To learn more about the Waxwood Series, click here.
And if you’d like to get your hands on a short story that is all about Vivian’s revelations as a debutante during her coming out ball, sign up for my newsletter here.
Twain, Mark and Warner, Charles Dudley. The Gilded Age: A Tale of Today. Project Gutenberg, 2006 (original publication date: 1873). Kindle digital file.
I’m not ashamed to say I’m a feminist. I became a feminist in college when I began studying literature and women’s fiction. I came from a very patriarchal house where my parents supported the idea that men ruled, and women’s purpose in life was to serve everyone around them — parents, husband, children, community. I don’t blame them, as they grew up in an age that still believed in these antiquated ideas about gender roles. Thankfully, much has changed.
In my guest blog post for Lisa Lickel’s Living Our Faith Out Loud, I talked about Vivian and her destiny as a Gilded Age debutante and the expectations put upon her. But where did these expectations come from? Partly, from the upper class society in which she lives but also from an idea that emerged in the 18th century and carried through well in the 19th — the separate spheres.
I first learned about the separate spheres when I was in graduate school. One of the signature academic texts on the subject is Barbara Welter’s “The Cult Of True Womanhood: 1820 – 1860” written in 1966 (not coincidentally, not long before the second wave feminist movement began making its appearance on the political stage). The article made a huge impression on me, especially the discussion of the separate spheres and its sister ideology, the cult of true womanhood . In the late 1960’s, writers, theorists, and scholars were beginning to take a more critical look at gender roles, stereotypes, and gender ideologies from the past, and they were exploring their relevance and repercussions on the present and future.
To put it as simply as I can, the term “separate spheres” embraces the idea that men and women each have a very specific “place” in the world. I use the word “place” here a bit ironically, because confinement in the physical, emotional, and spiritual sense has been one of the greatest battles women have had to fight against socially, politically and psychologically. In the 19th century, philosophers, religious leaders, and intellectuals believed men were born for the public sphere (which included politics, business, and law) and women for the private sphere (home, family, and community). In other words, men’s purpose in life was to go out and make money, make laws, and run the country, and women’s purpose was to take care of the home, have and raise the children, and participate in community events. This is a very simplified vision, of course, but it gives you an idea of how the spaces which men and women could occupy according to this ideology were limited.
What’s interesting when we look at the separate spheres more closely is not only do they define what women (and men) could do but what they couldn’t. Women were expected to stay out of medicine, for example, because they “did not belong there”. Similarly, the idea of a stay-at-home dad was inconceivable in this ideology since the home was the domain of women. Of course, each was allowed to reap the rewards of the other sphere. For women, this meant financial support, for men, it meant a comfortable home and loving family.
What is most relevant about the separate spheres when it comes to my fiction is not so much the physical spaces it represents but the psychological ones. In the mid-19th century, the world of business, politics, and industry were developing at a rapid pace. Because of this, jobs were opening up in the cities and people flocked to them, leaving behind the slower, simpler life they had had in the country. At the same time, in the minds of many people, industry was a big bad monster (hence Frank Norris’ allegory of the octopus to illustrate the brutality of the railroad industry in his book The Octopus) capable of luring people, especially the young, into greed and sin, soiling their minds, souls, and bodies.
In this atmosphere of dirty business and dirty politics, the home became an idealized symbol of purity, comfort and refuge (which is one reason why Victorian homes were so ornate and overstuffed). And who better to take care of it than pure, unsoiled women? They were the “angels in the house”, the eyelash-fluttering sweethearts who spent their days cleaning, cooking, shopping, attending children, and, for some, engaging in religious and charitable work. This ideal of the angel in the house had always existed, but it took on a more important role in the minds and hearts of people living in the nineteenth century. Many saw the divide of the spheres so distinctly they couldn’t fathom allowing women into the arena of politics, business, and law, all notoriously corrupt and dirty at that time. Women had to be protected and, even more, they were the protectors of the morals and values of men. Is it any wonder that author Virginia Woolf once wrote that for a woman to get any significant work done, she had to kill the angel in the house?
The ideal of the angel in the house actually derived from a poem written in 1854 by poet Coventry Patmore and the model for this ideal was Patmore’s wife, pictured above.
The description above might sound like a gross stereotype, but it illustrates the whole idea behind the separate spheres. It was, after all an ideology – the way people wished things would be or believed they were supposed to be. In Book 1 of my Waxwood Series, The Specter, the image Patmore’s angel in the house becomes the defining characteristic of the public persona of Penelope Alderdice, Vivian’s grandmother. It is, in fact, such a domineering archetype that her gravestone is carved with a verse from Patmore’s poem. In the book, part of Vivian’s journey leads her to pick apart this persona to reach a deeper understanding of who her grandmother really was and, in doing so, understand her own future.
The problem with the angel in the house and the separate spheres was that they created a model of womanhood most women found impossible to live up to, not to mention greatly unsatisfying (think: 19th century version of Betty Friedan’s “The Problem With No Name”). A great example of this comes from Natalie Dykstra’s book Clover Adams: A Gilded and Heartbreaking Life. Dykstra describes historian Henry Adams’ mother in typical “angel in the house” terms:
“Mrs. Adams, lively but pampered, had been a social ornament when young. What had charmed her wealthy father… had also captivated her husband — her buoyancy, her love of conversation, her open affection.” (location 949).
However, as with many women, Mrs. Adams’ role as the angel in the house proved anything but satisfying:
“[F]ollowing marriage and the birth of seven children within fifteen years… Mrs. Adams found little to engage her beyond her family. Simmering unhappiness had become tightly braided with chronic physical debility — crushing headaches, sleeplessness, and constant noises in her ears.” (Dykstra, location 949).
It was not uncommon for women to become ill because their temperaments did not fit into the sphere to which they were confined. A famous example of this is Charlotte Perkins Gilman story “The Yellow Wallpaper”, which I discuss here. Welter refers to the cult of true womanhood, but it should really be called the myth of true womanhood. Ideologies take on the proportions of myths because these narratives cannot be realized as anything but legends.
Thankfully, the idea of the separate spheres was beginning to crumble by the end of the nineteenth century when women began to enter the public sphere through politically progressive movements like suffragism and worker’s rights (which is a topic for another blog post). The images of the New Woman and the Gibson Girl (also topics for future blog posts) emerged during this time. Both overshadowed the image of the Angel in the House that had kept so many women chained in previous decades.
One of my passions is to give a picture of characters who were both products of their time and rebels of it. So it’s not surprising that many of my characters (the women especially, but also some of the men) refuse to stay in their sphere and venture outside of it. In my Waxwood series. I talked earlier about Vivian Alderdice, whose journey takes her away from the confined space of the separate spheres. Similarly, In Book 3, goes through her own journey when the darker consequences of this ideology present themselves in her mentally unstable Aunt Helen. In my upcoming historical mystery series, The Paper Chase Mysteries, Adele Gossling rubs the people of the small town of Arrojo the wrong way precisely because she is a one of these New Women mentioned above and not ashamed to proclaim it.
Both the separate spheres and the cult of true womanhood weren’t just about where a woman should be, but what she should do while she was there. It overlooked more salient questions such as whether she wanted to be there at all, and what the consequences of her being there if she didn’t could be.
To find out more about my book, The Specter, and purchase a copy, go here.
Photo Credit: Portrait of Sonya Knips, Gustav Klimt, 1898, oil on canvas, Österreichische Galerie Belvedere, Vienna, Austria: Aavindraa/Wikimedia Commons/PD Old 100
The cover for my upcoming book The Specter is here!
For most authors, every cover has a story behind it. For me, my fiction is all about the characters and my covers are all about people. My fiction is also all about people in the context of their time grappling with their own past. I wanted a cover that would reflect this.
When I started coming up with ideas on how I could convey this about The Specter, the idea of featuring a woman in a pink dress came to mind immediately. The pink dress and the woman with red hair relate to a character in the book and the painting I used reflects a portrait of that character mention in the book and its effect on Vivian Alderdice, the main character of the series. I can’t give away more than that just yet – you’ll have to read the book to make the connection.
I’ve always adored old paintings and old images and this one by Austrian painter Gustav Klimt caught my eye right away. On the one hand, the woman (identified in the title as Sonya Knips) is the picture of late 19th century womanhood in her pretty in pink dress, her right hand clasping a pink handkerchief demurely at her knee, the picture of innocence. On the other, there is a defiance in the way her eyes stare directly at you, the way she is leaning forward a little with her left hand grasping the arm of the chair in which she sits. Some of this isn’t visible in my cover but you can see the full painting and learn more about its background here.
Ironically, Klimt was known more for his later work as a symbolist painter which is vastly different from this painting. Symbolism was a movement that led into surrealism and the idea of making the real unreal relates to my newsletter this month, which will be sent out at the end of this week.
The buy links will be up on my website very soon. For now, you can read more about the book if here and more about the series here. You can also read an excerpt from the book here.