A Gilded Age Christmas

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Photo Credit: Christmas card by Louis Prang, showing a group of anthropomorphized frogs parading with banner and band. Note the card has the makings of a work of art (see below for more details about Prang and his philosophy of Christmas cards). 19th century (no specific date), American Antiquarian Society. M2545/Wikimedia Commons/PD Old 100 

If you’ve been reading my blog for awhile, you know I love seeking out historical traditions of our beloved holidays so that you know how the Alderdices in my Waxwood Series would have spent their holidays. I’ve done this post on Thanksgiving in the Gilded Age, and I’ve also written this post about New Year’s Day traditions in the 19th century. So it’s fitting that we take a look at Christmas traditions as well.

Many of us in the 21st century grumble about the way Christmas has become so commercialized (Christmas in July, anyone?) Many of these commercial ideas about Christmas were planted in the Gilded Age. For example, the tradition of the decorated Christmas tree was brought over from Germany, but the Gilded Age added its own philosophy of splendor and excess. As you might recall, modesty was not exactly the order of the day for Gilded Agers. They liked lavishness and glitz, and they weren’t afraid to make a profit from it. They turned the decorations of simple strings of popcorn and beads into a display of lights, colored glass balls, and wax angels, creating a commercial enterprise of Christmas tree ornaments.

The humble Christmas card also acquired a different meaning in the Gilded Age. Louis Prang, one of the most successful printers of the Gilded Age, began producing Christmas cards less for profit than for an opportunity to give a lesson in fine art on a budget. He saw his cards as mini artistic achievements that even the working and middle classes could afford. This idea of democratizing fine art, an exclusive domain of those who could afford it, was not one Gilded Agers were willing to embrace. So predictably, Prang’s idea of elevating Christmas cards fell by the wayside when other manufacturers decided to cash in on the trend and produced cheap variations. It was then that Christmas cards became big business.

Also big business was the gift-giving that now dominates Christmas in our modern world. Today we might find it appropriate to give a family member or friend an Amazon gift card and let them choose what they want, but in the Gilded Age, such gifts just weren’t to be had. Presents had to be individualized and carefully thought out and chosen. It was also an opportunity to show one’s generosity by the expensiveness of the gifts one was giving others.

Wrapping presents was also a Gilded Age invention, as it fit in with the idea of elaborate presentation that characterized the age. Here also, people like the Alderdices could flaunt their wealth. Plain white wrapping paper was more about the gift than what the giver could afford, but elaborate wrapping paper told loved ones that one bought the gift at the “right” place.

Photo Credit: Merry Old Santa Claus, Thomas Nast, 1 January 1881, Harper’s Weekly: Soerfm/Wikimedia Commons/PD Art (PD Old 100)

We think of Santa as a jovial, generous white-bearded, somewhat heavy-set man bestowing presents to “good” little boys and girls. In the Gilded Age, Santa also had political and social implications. Santa was the glorified symbol of Capitalism with a capital “C”, an authoritative and somewhat mystical figure who held gifts aplenty — for those who deserved them, of course.

Here’s where you can find out all about the Waxwood Series, my Gilded Age family saga. 

Want to explore the nooks & crannies of history, the stuff that isn’t in the history books?Like social and psychological history and not just historical events and dates? Want in on exclusive sneak peeks, giveaways, and polls? Then sign up for my newsletter! Plus, you’ll get a free short story when you do :-). Here’s the link!

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Dandelions Launch Giveaway is here!!!

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The Progressive Era’s New Woman

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history, women, Victorian era, Progressive era, turn-of-the-century, New Woman, Gibson Girl

The drawing above is the prototypical Gibson Girl. Interestingly, her features are very delicate and feminine, and her expression is flirtatious 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

I originally wrote this blog post last year for Women’s Equality Day. As I’ve been working on the last book of my Waxwood Series, which is set at the turn of the 20th century, the New Woman has emerged as an amazing icon in history embodied in the series protagonist, Vivian Alderdice, and in some of the women around her.   

Women’s suffragism wasn’t just about politics. It was also about the psychological realities of women’s lives. Years of being locked in the cage of the separate sphere ideology made women anxious to get out. The separate spheres placed boundaries on their physical, social, emotional, and spiritual lives. When women’s rights came to the forefront, many women realized it was time to break free of those limitations, and the only way to do it was to create a new kind of woman. It should be no surprise that she emerged with the new century when America was leaving behind the cobwebs of the past and looking to a bright, shiny future. 

The New Woman was born in the latter part of the Gilded Age in the wake of progressive reforms. So many changes were happening during this time — the shift from rural to urban living, the rise of big business, social and political movements — and women wanted and needed to be a part of it. This made it impossible for the Angel in the House to survive. The New Woman, in fact, pitted herself against this ideal.

She was anything but complacent, docile, and submissive. Illustrator Charles Dana Gibson’s “Gibson Girl” was the typical New Woman. First created in the 1890s, she was young and single, pursuing fun and leisure with as much vigor as her male companions. Gone were the layers of petticoats and bustles. Gone were the tight bone corsets that made the Angel in the House so fragile and helpless and limited her mobility. In her place was a woman who wore fewer layers, dressed in a narrow, moveable skirt and shirtwaist (the equivalent of a t-shirt in those days), and donned a corset that didn’t limit her as much as those worn by her mother and grandmother.

Her freedom went well beyond her dress. She established her own identity separate from any man’s and proved her strength not only emotionally but physically. 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 1890s. The fussy requirements of dress and chastity in the Victorian era hardly allowed for a comfortable ride (not to mention a modest one). This changed with the Gibson Girl who was often depicted as a bicycle enthusiast. 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 as a group of reporters who cheer Mrs. Balfame on when she goes on trial for the murder of her husband. They are willing to engage in the “yellow journalism” popular among their male contemporaries at the time.

While the New Woman represented a fresh, contemporary approach to womanhood, she wasn’t necessarily a rebel. She gave women a new image, true, but one that wouldn’t threaten the male order and would, in fact, even please men. Gibson, for example, frequently pictured his ladies engaged in the art of flirtation, emphasizing the idea that, in spite of her “masculinized” appearance and manners (masculine for that time, that is), she was still “just a woman,” interested primarily in love and marriage.

In Book 1 of my series, The Specter, the New Woman first appears in the character of Marvina Moore, a widow who stirs Vivian’s interest in suffragism. As the series progresses, Vivian shifts from a debutante and heiress of the last century to a progressive reformer of the new. In Book 3, a conversation about bicycles ensues:

“You forget, Mr. Leblanc,” she said, “many young women nowadays prefer the bicycle to the scrub board.”

“Oh, that’s only a passing fad,” he insisted. 

“Are you going to turn into one of those New Women, Vivian?” Amber asked archly.

The woman made it sound so much like an insult that Vivian colored. “It would be a sight more flattering than a nagging wife,” she retorted.

In Book 4, Vivian’s feet are firmly planted in New Woman territory, right down to her sensible dress and athletic prowess.

In my upcoming historical mystery series, The Paper Chase Mysteries, the series protagonist, Adele Gossling, also emerges as a New Woman. She’s the Gibson Girl in every way, including her unhesitating involvement in crime investigation. In the opening of the first book, Adele arrives at a small town still caught inside the net of Victorian ideals in an automobile. Anyone owning a car, let alone a woman, at that time when they were still considered passing fads, was seen as more of a nuisance than an innovator.

Adele soon establishes herself in town as an independent woman who owns her own home and runs a stationery store. She prefers to help the town sheriff and his deputy (her brother) solve crimes than participate in teas and socials that were the primary occupation for women who were unmarried.

If you’d like to read The Specter, you can find all the information for the book here. You can read more about the series here. To find out more about my historical mystery series, coming in 2021, you can check out this page.  

Want more fascinating information on history? Like social and psychological history and not just historical events and dates? Then sign up for my newsletter! Plus, you’ll get a free short story when you do :-). Here’s the link!

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DOUBLE COVER REVEAL!!! Waxwood Series Refresh + Dandelions Cover Reveal

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I have double whammy goodness for you this week!

I’ve been wanting to refresh the covers for my Waxwood Series for a while. While I love the idea of classic paintings on covers (I’m all about the classics), I also realize these paintings are a flashback into the past that many readers might not be attracted to. Many of us love to look at old paintings, but they don’t always speak to who we are or what we feel today, as individuals or as an era.

I think this is especially true in the past four or five years. There have been so much rushing forward and so many changes (some good, some not so good) we’re all looking ahead at life differently, and there is no going back. We can enjoy the past for what it was, but we also have to look toward the future.

With that said, here are the new covers for Books 1, 2, and 3 of the Waxwood Series.

historical fiction, series, Waxwood Series, 19th century, Gilded Age, family saga, family drama, women's fiction, coming-of-age

The Specter Photo Credit: 

The Specter Photo Credit: Portrait of Sonya Knips, Gustav Klimt, 1898, oil on canvas, Österreichische Galerie Belvedere, Vienna, Austria: Aavindraa/Wikimedia Commons /PD Old 100

False Fathers Photo Credit: Karl Joseph Burkmuller, Franz Xaver Winterhalter, 1830, oil on canvas, Miguelemejia/Wikimedia Commons/PD Art (PD old 100)

Pathfinding Women Photo Credit: Painting of three women in white, long-sleeved dresses, Charles Perugini, 1839-1918, oil on canvas: Needpix.com /CC0

I discovered these marvelous seascape paintings that give off the vibes (sometimes contradictory) of Waxwood as a place (and if you’d like to read more about the real seaside town that inspired Waxwood, you can read this blog post). 

The series has one last book coming out in December. It’s called Dandelions, and you can find out more about the book here. But for now, here’s the fourth and last cover for the series:

historical fiction, women's fiction, Waxwood Series, series, Gilded Age, 19th century, US history, family saga, family drama

Dandelions Photo Credit: Couple painting, Dionisios Kalivokas, 1858, canvas and oil, Corfu National Gallery, Greece: File upload bot (Magnus Manske)/Wikimedia Commons/PD Art (PD old 70)

Below are links where you can find out and purchase the first three books of the series:

The Specter (right now selling for 99¢)

False Fathers

Pathfinding Women

If you’d like to know more about the series itself, check out this page.

Want more fascinating information about history? Like social and psychological history and not just historical events and dates? Then sign up for my newsletter! Plus, you’ll get a free short story when you do :-). Here’s the link!

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Pathfinding Women Launch Giveaway!!!

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