Publication
Clara Love, June 28, 2017
Iran into Dr. Cole on campus this week, and we had a brief chat regarding my upcoming assignment, which is to track how Lizette Woodworth Reese’s poetic career grew and was shaped over the course of her experience with the Club. One thing we touched upon was how determined many members of the Club were to get their works published, or at least to share their own original works with their peers. In thinking about the work I’ve done so far with the Club programs, I’m pleasantly surprised at how frequently these women brought their own literary and artistic talents to the table right alongside readings and discussions of established works of (men’s) literature. Whether they read or presented their own works or had a fellow club member do so for them, I have come across hundreds of instances of original writing and art being given a platform at club meetings.
Reading Sydney’s post about searching for information about Club members when we often have only a husband’s name to work with made me similarly frustrated. Especially in the context of producing original content, it’s a little disheartening to reflect on how little I know or would be able to know about a married woman who wrote something still under her husband’s name. This issue is further complicated in my corner by the fact that very often, the actual titles of the women’s original work is not listed on programs. Instead, title of the reading or presentation was often just something like “A Story,” “Two Poems,” or “A Sketch,” with no further clues as to what it might be about. Sometimes however, this was not so, and I am fortunate to have some actual titles on record. In fact, some readings of original works have titles that include the title of an actual upcoming published volume, particularly Miss Lizette Woodworth Reese, who alongside Miss Virginia Woodward Cloud and a few others, I have noticed reading most frequently.
I’m still curious as to how much of a collaborative process these public readings of original work were, particularly the ones that come from or led to publication. Are the works just labeled “Story,” or “Poem,” works in progress? Did these women provide feedback for each other like a writing workshop, or were they simply enjoying one another’s pieces? I hope to find out more this week as I delve into this topic through the lens of Lizette.
This content was migrated from the The WLCB log: Documenting the Woman’s Literary Club of Baltimore 1890-1941