https://www.archivalgossip.com/collection/files/original/19b023bb55b996544a049d12e5ae191d.png affd923caddebaf8af1c404cbf784acf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Grace Greenwood (Sara Jane Clarke) Source A related resource from which the described resource is derived Portraits of American Women Writers That Appeared in Print Before 1861 Publisher An entity responsible for making the resource available Anne C. Lynch Botta. "Grace Greenwood", in Godey’s Lady’s Book 37 (1848): 327-31, frontispiece, Retrieved from The Library Company of Philadelphia, <<a href="http://librarycompany.org/women/portraits/greenwood.htm">http://librarycompany.org/women/portraits/greenwood.htm</a>>. Date A point or period of time associated with an event in the lifecycle of the resource 1848 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gossip Columns and Columnists Description An account of the resource The collection stores items related to the question of how gossip was talked about, referenced, and used in nineteenth-century periodicals. It showcases letters, diaries, articles, auto/biographical accounts of relevant journalists as well as exemplary gossip columns and articles. Visit the <a href="https://www.archivalgossip.com/sources/archives/">list</a> of archives from which the archival sources were derived. <div style="text-align: center;"><a href="https://archivalgossip.com/collection/files/original/4a92a43e5ed873676c0588fd6cc4326f.JPG"><img title="Item Locations" alt="Item Locations" src="https://archivalgossip.com/collection/files/original/4a92a43e5ed873676c0588fd6cc4326f.JPG" style="display: block; margin-left: auto; margin-right: auto;" width="469" height="324.5" /></a>(<a href="http://hdlab.stanford.edu/palladio/">Palladio</a> visualization, location of items in collection, size nodes)</div> Person An individual. Occupation journalist poet Secondary Texts: Comments Secondary sources that have explicitly commented on the respective item or raised important concerns/questions that are of interest "Greenwood skillfully uses humor in her role as a cultural critic to invite her readers to reconsider and, she hopes, revise their views on contemporary subjects, particularly as these issues relate to women." (Garrett, Prodigal Daughters 18) "Like many women writers of her day, Greenwood chose an alliterative, playful name, although she explained that Grace was the name her mother had originally intended for her. Sources indicate that she took ‘Greenwood’ from the name of a school in New Brighton which she reportedly attended briefly, but the school was not actually founded until several years after Greenwood had begun using her nom-de-plume. Whereas scholars have often read the use of pseudonyms as women writers’ ways of hiding their identities, Greenwood explains otherwise. In response to many requests to make herself known. Greenwood refuses to reveal her given name, insists she is Grace Greenwood, and defends the use of assumed names as a way of having a ‘name of one’s own’ (Home Journal, 16 May 1846: 2). Insistent on an individual identity, one attached to neither father nor husband, Greenwood rebuffed patronymic tradition with her eventual almost exclusive use of her assumed name." (Garrett, Prodigal Daughters 21) "Greenwood's literary accomplishments had gained her entry into important literary circles; by October of 1849, Godey's Lady's Book listed her as an assistant editor" (Garrett, Prodigal Daughters 28) "Her staunch abolitionist opinions, published in the National Era, created a national uproar. Afraid he would lose his southern audience after Greenwood's anti-slavery letters brought complaints, Godey removed her editorship. He restored Greenwood's name to the next issue, but Greenwood would not stand for this equivocation; she sent a widely published note clarifying, ‘I have no connection, either editorially or otherwise, with the 'Lady's Book’’ (National Era, 7 February 1850: 23)." (Garrett, Prodigal Daughters 28–29) "At twenty-nine she was a handsome woman with expressive large eyes, a head piled high with curls, and a curiosity that kept her constantly on the lookout for subjects of popular articles. In 1850 her Greenwood Leaves had been a best seller, and her trip through Europe now was meant to pay off in more chatty articles for the American press. Hawthorne liked her, though reading the pieces she had already sent home from England, he tossed her off as a 'scribbling female' – partly because Grace took such foolish delight in attracting attention. At a private reading Charles Kemble gave in London, Grace became so moved that she almost brought down the house. At the end of one piece, she applauded so wildly that she fell into hysterics, then swooned dead away. Kemble looked up from his book. 'Ma'am, this won't do,' he said sternly. When Grace remained dead on the floor, Kemble repeated, 'Ma'am, we are too much used to this sort of thing!' When Grace still gave no response, Kemble cried, 'Ma'am, you expose yourself!' At that, Grace bounded up horror-stricken, adjusting her skirts. Hearing the story later, Hawthorne wondered how 'she survived it.'" (Leach 249) -->for the Hawthorne-Greenwood quarrel, cf. Garret's Prodigal Daughters "In the 1850s, Greenwood had spent eighteen months traveling around Europe as one of the youngest of a group of six women. Her travel writing from this earlier expedition, Haps and Mishaps of a Tour In Europe (1853), was her most successful publication. In fact, a later woman journalist, Kate Fields, with whom Greenwood was acquainted and whose career Greenwood later encouraged, wrote of her own European travels in Hap-Hazard (1873), playing off of Greenwood's popular title. While in England in 1876, Greenwood met Fields in the home of another woman artist. Miss Philps, who apparently provided a literary salon for American writers away from the New York salon scene. Greenwood taunts readers with her independence, and the potential danger this presents, in her earlier travel writing, noting the understood threat of female independence and yet recognizing the impossibility of testing that independence on this safe, proper pilgrimage. Balancing her own fears of being a ''strong-minded woman' abroad' with the danger of becoming 'more babyishly dependent than ever,' Greenwood traverses gender as well as geographical boundaries in Haps and Mishaps, as well (Haps 49-50) . Written primarily for The Saturday Evening Post, these earlier travel letters are more playful reveries than her more serious, though still humorous, social commentary for the New York Times." (Garrett, Prodigal Daughters 178) Parrott describes Greenwood as one of Cushman's 'companions' (Parrott, Prodigal Daughters 324, 327). "Greenwood wrote letters and sketches for numerous periodicals during this time, and she soon became a "special" correspondent for the National Era and occasionally for the Saturday Evening Post. In 1852, Greenwood arranged financial support for her travels abroad with Charlotte Cushman, a well-known actress, in return for letters to the National Era; many other papers reprinted or summarized her travel news, including interviews with Dickens, Browning, and Thacherey. When the National Era could not afford the raise she requested to continue her travels, Greenwood found funding from the Saturday Evening Post. Greenwood collected her travel letters to both the National Era and Saturday Evening Post in Haps and Mishaps of Travels in Europe (1854). This collection, Greenwood's best-selling work, remained in print for over forty years." (Garrett, Prodigal Daughters 30) “Soon Grace Greenwood was writing for Godey's, Graham's, Sartain's, and the Saturday Evening Post as well as the Home Journal. She was editor for a time of Godey's Lady's Dollar Newspaper and editorial associate of his Lady's Book with its nearly 150,000 subscribers.” (Thorp 148)   Thorp emphasizes Greenwood’s interest in the personalities of politically leading figures: “Grace Greenwood believed that she was the first female Washington correspondent. She seems to have been unaware of the fiery sortie of Mrs. Swisshelm in the Tribune, which had culminated just before her arrival, but she was, in any case, a daring pioneer and she held the field for an unprecedentedly long period, writing Washington Letters at intervals from 1850 until 1897. The early Letters are rather more occupied with the personalities of the nation's legislators than with their policies” (Thorp 153)   Thorp describes the relationship between Ticknor & Fields and Greenwood as "a warm publisher-author friendship” (Thorp 153). "When, in 1852, she planned a tour in Europe she arranged that they should bring out in book form the Letters she purposed writing for the Era. Dr. Bailey who had been paying her $500 a year for her Letters and editorial services, was glad to have her as foreign correspondent but when she wrote from London asking him to increase the stipend to a thousand so that she might continue her travels to Rome, he declined, and in April Grace, somewhat ungratefully, transferred her correspondence to the more affluent Saturday Evening Post. ‘Greenwood Leaves from Over the Sea’ bubble with excitement and enthusiasm, detailing in tireless superlatives encounters with the antique shrines and contemporary celebrities of England, France, Germany, and Italy. As Haps and Mishaps of a Tour in Europe they made the most popular book that Grace Greenwood ever published” (Thorp 154) Gracewood witheld personal information about her marriage and her trip with Cushman and Hosmer: "There were even more interesting incidents in the trip on which she was discreetly silent. It was with Charlotte Cushman, for instance, that she lived in Rome; Harriet Hosmer, the sculptress, was of the party; and Grace Greenwood herself was watched during her stay by the Italian police because she was known to be a friend of Mazzini." (Thorp 155–56) Greenwood herself became the focus of newspaper gossip: "For the explanation one is obliged to turn to a paragraph of newspaper gossip, written in 1876 when Leander Lippincott's peccadillos had swollen into crimes and he had fled the country under federal indictment. A Washington correspondent of the Hartford Times told the story of their marriage. [Grace Greenwood's] dream of happiness was soon over, and her friends with indignation beheld the spectacle of her husband using all of her earnings for his own selfish pleasure. Loving, patient Grace, worked for both until proof after proof of his infidelities had been forced upon her. She entered the lecture field, and finally settled down in Washington as correspondent of the New York Times. Mr. Lippincott followed her to Washington and she obtained a clerkship for him in her brother's (Mr. Clarke's) office. Mr. Clarke is one of the examiners in the Patent Office. No one supposes that Mr. Lippincott made any better clerk than he did husband, or anything else. Of this situation Grace Greenwood's Letters give no hint." (Thorp 157) "Arguing for Fanny Kemble's, Charlotte Cushman's and George Sand's right to wear trousers, for Susan B. Anthony's right to vote, and for all women’s right to receive equal pay for equal work, Greenwood boldly argues for social reform." (Garrett, Prodigal Daughters 32) "Cushman' s wearing of breeches on and off the stage made her the subject of much public attention. See Davis 113. Catherine Clinton speculates about the nature of Cushman's relationships with two women, one of whom must be Greenwood, before her more public friendship with sculptor Emma Stebbins (163) . Greenwood was rumored to have acted on the English stage while traveling with Cushman, but these rumors are not confirmed by her letters. However, in her anonymous short story, "Zelma's Vow," Greenwood recreates her relationship with her husband, casting Lippincott and herself as competing actors rather than writers (Thorp 157). While acknowledging that there is no textual evidence of Zelma's regrets about her failed marriage, Ann Douglas Wood asserts that Greenwood 'clearly feels that her heroine is guilty' (Wood 13). Greenwood’s other writings, including personal correspondence, do not reveal a woman regretful of her success as a writer." (Garrett, Prodigal Daughters 40) "With attention to actors and writers. Greenwood claims for women a right to a public image; she insists that it is not that women cannot or should not be seen in public, but that they have a right to define their public roles apart from male intimidation. She praises women in public roles of actresses and writers." (Garrett, Prodigal Daughters 167) "George Sand. At the death of this French novelist, Greenwood explains that she has read all of the French accounts of Sand's death, all of which give more attention to Sand than the brief New York Times obituary. In her earlier public letters, collected in Greenwood Leaves, Greenwood had defended Sand for wearing trousers, cropping her hair and smoking cigars. Sand's behavior was the subject of much attention in the early half of the nineteenth century." (Garrett, Prodigal Daughters 168) "Grace Greenwood fared better, though Charlotte found herself no more necessary in Grace's plan. The good journalist, Grace chose to remain in the background observing, determined to dig out the facts about Rome's coming political upheavals – though this was difficult to do, since certain parties had learned that the American Miss Cushman had forwarded money to Mazzini and, as a friend of Miss Cushman, she was suspect herself. About her status among the Italians, Cushman cared not at all." (Leach 255) <a href="https://www.browningscorrespondence.com/correspondence/3360/?rsId=236992&returnPage=1">Greenwood meets the Brownings at Casa Guidi in May 1853.</a> Sex Female Nationality US-American Birth Date 1823-09-23 Death Date 1904 Admin Comment Comments for further research, pending questions, tasks that still have to be completed Greenwood was friends with Nathaniel Hawthorne (Wojczuk 132). -->not necessarily if you consider what Garrett says! Greenwood and Cushman's relationship suddenly deteriorates between the end of July in 1869 (#431) and the beginning of January 1870 (#440). No reason whatsoever given - so far.  “Greenwood's collection, Poems (1851), includes passionate poetry on a variety of subjects, most notably her "Love-Letter to A Friend" and "An Offering to Anna, ''which include autobiographical references to Greenwood’s intimate friendship with Anna Phillips. The homosensual language of these poems illustrates an acceptance of romantic, same- sex friendships in the period. In "Love-Letter To A Friend, " for example, Greenwood addresses Anna: In love that would not let me sleep, I hung above thy tranquil rest, Whose soft, low breathings scarcely stirred The snowy folds upon thy breast. And watched to see thy starry eyes Beam from their blue-veined lids' eclipse, And drank thy very breath, and kissed The night-dew from thy rose-bud lips! (Poems 97)” (Garrett, Prodigal Daughters 22–23)  "Ann Douglas (Wood), in her essay, "The 'Scribbling Women' and Fanny Fern: Why Women Wrote," exaggerates Greenwood's connection to Godey's Lady's Book and the presumed conservative, even oppressive espousal of a femininity standard that this magazine is thought to have put forth. Quoting a passage from a letter Greenwood first published, in 1846, at the age of twenty-three, Douglas, in her haste to identify converts to the "cult of true womanhood" or the "cult of domesticity, " claims that Greenwood "slipped into line behind Mrs. [Sarah Josepha] Hale," then editor at Godey's, in wanting to "have their cake and eat it too: stay 'feminine' and write successful best sellers" (Wood 5-6)." (Garrett, Prodigal Daughters 29) "In the 1880s, Greenwood returned to Europe for her health and for her daughter's education. She continued her writing, most extensively for the London journal, All The Year Round (Holloway 299-300). In addition, she wrote a biography, Queen Victoria: Her Girlhood and Womanhood (1883), which was commended by the Queen. (Garrett 36) returned to the United States, first to New York, where she contributed to Ladies Home Journal, then to Washington, where she continued to publish, primarily sketches reminiscent of earlier times in Washington." (Garrett, Prodigal Daughters 37) "Her front page New York Times obituary attests to her importance as a literary figure in the nineteenth century, particularly as "the first woman journalist in the Washington field" (21 April 1904)." (Garrett, Prodigal Daughters 37) "Jane Tompkins, for example, notes that by 1850, Greenwood had become one of the favored writers of the day (227) . Other critics have used Greenwood's satiric comments on women to argue that she supports the popular image of "True Womanhood." See Coultrap-McQuin 10 and Ann Douglas 91. Taken out of context of both the specific letters and the larger body of her work, individual lines can be read as unsure, if not equivocating, on appropriate roles for women.” (Garrett, Prodigal Daughters 37) "Describing an adventure of the later group of six women, from her travels in 1876, Greenwood romanticizes a picnic the women share in Pompeii. After visiting many of the locations described in Bulwer's History of Pompeii, the women stop for lunch, and Greenwood recounts their meal: We took our lunch like the romantic young party that we were, in the peristyle of the house of the 'Dramatic Poet,' Bulwer's Glaucus. We made believe hard that our hard-boiled eggs, iron-clad rolls, tough apples, and tenacious tongue were the classic and choice viands, fruits, and sweetmeats he set before his guests on the occasion of his famous banquet— and that our poor vin ordinaire was delicious Lesbian. (7 June 1876) It is tempting to argue that here Greenwood is characterizing not only the wine but also the women. However, it is not clear that the word "lesbian" enjoyed wide-spread use as a description of women's relationships at this time. The Oxford English Dictionary records that "lesbian" was used only rarely in the 1870s to describe women's relationships, but by the 1880s it was used more often. It is not obvious, then, that Greenwood employs double-entendre here, but her consistent celebration of women's relationships and her characteristic use of puns, an element of her style for which she was praised in the period, support such a reading. See also Faderman's discussion of women's relationships" (Garrett, Prodigal Daughters 179)  "Greenwood's success, then, with her long-running column in the New York Times, provides evidence of another route to reform: a column in a daily newspaper with a national reputation." (Garrett, Prodigal Daughters 34–35) "Greenwood's letters had been published sporadically in the Times prior to 1871, but she became a regular columnist for the paper in this year. Initially, she left her home in Washington for short excursions to Massachusetts, and she wrote 'Boston Notes,' recapping news of various literary figures, including Hawthorne, Stowe, Longfellow, and Whittier, who frequented the office of her publisher, Ticknor and Fields (See her letter from 10 June 1871, for example)." (Garrett, Prodigal Daughters 80) Birthplace Pompey, NY, US Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Grace Greenwood Type The nature or genre of the resource Person Reference Identifier An unambiguous reference to the resource within a given context 0087 Description An account of the resource Grace Greenwood is the pen name of Sara Jane Clarke Lippincott. Lippincott often signs her letters with her pseudonym. Greenwood travels Europe (for a certain period of time, she also travels with Cushman) in 1853 and publishes Greenwood Leaves with Ticknor & Fields. Greenwood lives with Cushman in Rome for some time in the 1850s. She often devotes her poems, prose writing, and newspaper columns to women's rights and and challenges gender roles. She writes gossip columns for the National Era and the Saturday Evening Post. In 1871, she starts writing for the Times as a woman travel writer. She also works for Godey's (junior editor) and Ladies' Home Journal for a short time and publishes in the Transcript and London Illustrated News. For further sources and information on Grace Greenwood as a gossip columnist, visit our "<a href="https://www.archivalgossip.com/collection/exhibits/show/gossip-in-print">Gossip in Print</a>" exhibit. She marries Leander K. Lippincott in October 1853, and gives birth to Anna Grace in October 1855. Subject The topic of the resource Journalists/Writers Gossip--Published Travel Reports Relationships--Networks Lippincott, Sara Jane (pseudonym: Grace Greenwood), 1832-1904 National Era Ladies' Home Journal London Illustrated News Godey's Transcript Saturday Evening Post New York Times press coverage Rome social capital