Posted on by Katrin Horn

ArchivalGossip goes Podcast!

Bit of news: I’ve recently been invited to join the always great LadyFiction-Podcast to talk with Dr. Stefanie Schäfer about (transatlantic) gossip in periodicals (e.g. the writing of Anne Hampton Brewster, from whose “American Artists in Rome” my opening quote is taken) – of course, Charlotte Cushman also made an appearance!

In this special Women’s History Month episode, Stefanie Schäfer discusses gossip with American Studies scholar Katrin Horn, head of the research project www.archivalgossip.com. Following the trajectories of American artists in Rome, and specifically the making of actress Charlotte Cushman’s celebrity persona, they read the functions of gossip in 19th-century US magazines between the intimate and the political, between escapism and nation building, and they also ponder the question of how gossip became gendered.

Session summary by Trans-Atlanticist

You can listen or download here!

Posted on by Katrin Horn

Ladies’ Home Journal

One Issue, A Whole Lot of Gossip

Last week, I had the pleasure of giving a guest lecture as part of the University of Münster’s Lecture Series In the Mood for Affect. The title of my lecture was “Capitalizing on Intimacy: The Rise of Gossip in US American Periodicals” and in preparing for it I re-discovered one issue of Ladies’ Home Journal that is so wonderfully bananas when it comes to gossip that
a) I decided to dedicate an entire section of the lecture to this one magazine issue (the other two sections were focussed on the careers of Grace Greenwood and Anne Hampton Brewster and how they profitted off of their personal ties within the expatriate community in Italy, and on Town Topics‘ stylistic evocation of intimate familiarity among readers and between readers and “The Saunterer” respectively), and
b) I wanted to share it with you here, too:

Let’s start with a bit of context: Simultaneous with the rise in public gossip for which I argue, the nineteenth century also witnessed another crucial and related trend in publications, namely etiquette manuals. As John Kasson summarizes in Civility & Rudeness, the interest in manners is intricately connected to changes in the social make-up, most centrally, the national focus on social mobility: “Fundamental to the popularity of manuals of etiquette was the conviction that proper manners and social respectability could be purchased and learned” (Kasson 43). Hence, it is unsurprising that the same magazines which might write about public figures and thus profit from the interest in gossip reports about their activities, might nonetheless also feature advice columns that warn against gossip’s potentially disastrous social consequences. So, I know that from a financial and editorial point of view it makes a lot of sense for the two opposing takes on gossip (condemning it / selling it) to exist side by side. Nonethelles, I was still struck by how that plays out in the August-issue of Ladies’ Home Journal from 1889 (full text accessible via HathiTrust).

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Posted on by Selina Foltinek

Blog Series: Working on Intimate Knowledge with Archival Documents (3/3)

Concluding Remarks

The Archive as a Space that Actively Shapes Narratives

Further problems that we have encountered were that parts of letters may be missing, letter pages may be assembled in the wrong order or they were assigned to the wrong historical agent (LoC, CCP 10: 3004-3007). Transcribing the documents, we noticed from time to time that a folder contains other senders or addressees as those indicated on the compiled folders. In such cases, it is important to question the arrangement of historical documents by the archives/archivists. Dever et al. remind us that the archive is a space that constructs narratives based on the knowledge that archivists have about the collections and their comprised documents:

[A]ny contemporary discussion of archival research must begin by acknowledging the epistemological pressure placed upon the concept of ‘the archive’ in recent years. This pressure has marked a turn away from the positivist understanding of archival repositories as being mere storehouses of records, toward considering the status of the archive as a significant element in our investigations. Ann Laura Stoler characterises this shift as the ‘move from archive-as-source to archive-as-subject’. […] [Jane Taylor’s] conclusion–that the archive is ‘at once a system of objects, a system of knowledge and a system of exclusion’–points to the profoundly constructed and deeply political nature of the archive, challenging many hitherto basic assumptions about ‘archival fixity and materiality’.

(Dever et al. 105, 118-119)

Critiquing her own use of private documents and tacit knowledge in archival documents, Sally Newman challenges her own position as a researcher to discuss her initial research focus and the assumptions with which she worked on the material at first, oscillating between nostalgia and fantasy. She researched in the Smith College archive to investigate same-sex desire:

I was drawn by their colour and materiality, even as it seemed there was something other-worldly about the splashes of brilliant blue that lit up the dour grey pages of the thick leather-bound books in which students immortalised their college experiences. This paradoxical presence/absence only heightened my desire for these objects and allowed me to indulge in the fantasy of seeing through these miniature portals into another time and place. I enjoyed the delight that was obvious on students’ faces in their playful mugging for the camera at ‘Mock Weddings’, which seemed to capture the spirit of this progressive ‘Adamless Eden’ that I was experiencing vicariously as I worked my way through the archive.

(Newman 153)

Newman concludes that her “desire (for these objects, for what they represented for my project) had prevented … [her] from seeing that these artefacts were linked by something more obvious: the desire to memorialise experiences and culture” (Newman 157). She calls for using the term ‘archive’ in the pural since what researchers make of the material they encounter is exposed to interpreting skills coming from all sorts of different angles: “There is no single archive because readers will construct their own ‘archive’ from the artefacts they choose to highlight, ignore or pass over” (Newman 155). Hence, our online archive and exhibits are a particular way of storytelling. The Omeka collection is constantly evolving in terms of size and specificity. In the DFG project, we trace gossip as a form of knowledge production and circulation in auto/biographical writing (both published and private) to investigate women’s (individual and communal, secret and shared) strategies in dealing with socio-cultural forces of financial speculation, the re-evaluation of privacy, and new forms of participation in the public sphere. For the Omeka collection, we have focused on actress Charlotte Cushman so far. The collected and digitized material is not limited to documents that explicitly mention gossip. The collection comprises

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Posted on by Selina Foltinek

Blog Series: Working on Intimate Knowledge with Archival Documents (2/3)

Working with or Deciphering Archival Documents

Dever et al. point out that the demonizing of gaps in archival research nurtures the illusion of some kind of coherent history that can be discovered:

The challenge […] becomes one of how to read and work with these fragments, given that, as researchers, ‘we are generally dismayed by the gaps that fragments expose, and try to fill them’. We often harbour an insistent (deeply suppressed and often denied) desire to find in our archival sources a whole where there can only ever be random parts, to perform acts of reconstitution in the service of producing a coherent and seamless account of our subject. […] How, then, do we live with – and work with – the patterns of knowing and not knowing thrown up by these sources … .

(Dever et al. 100–01)

It is tough to cast this urge to find the ‘truth’ (the ‘full historical truth’) aside, since it is difficult to accept that we may never know it or, in fact, that there was never such a truth. What researchers can achieve, however, is a process of sense-making of fragments in the archives, which gives a voice to often forgotten historical agents and presents new perspectives on historical events, lives, and constellations. This being said, do not let me deceive you, it is an ongoing struggle to happily coexist with the fragments. How often have we desperately hoped for a historical document that explains it all to magically pop up? Too many times. How often will that happen again in the next months? Way too often. Sometimes, we were successful and it is those times that stick with us. They keep us going to dig deeper. In doing so, we were facing several issues of working with and deciphering archival documents.

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Posted on by Selina Foltinek · 1 Comment

Blog Series: Working on Intimate Knowledge with Archival Documents (1/3)

In letters, scraps of notes or a diary entry, we are offered some of the most fragmented and ephemeral textual traces of a life and the intimate connections that structured it. But while we sometimes conflate the private and the confessional, there is no guarantee that what we will find preserved within someone’s personal papers will necessarily offer clarity of insight or confirmation of intent.

(Dever et al. 122)
close up of card catalague
Card Catalogue at The New York Public Library for the Performing Arts

In our research on Charlotte Cushman in terms of gossip and reputation management, we mainly work with archival documents with intimate knowledge. They do not necessarily “offer clarity of insight or confirmation of intent” (Dever et al. 122). but implicitly touch upon Cushman’s ambition to construct a most favorable public image of herself as a respectable and successful actress. For instance, Cushman wrote to or received long letters from her romantic partners that inform the correspondent about press reports, attempts to conceal certain parts of her private life or build a network in foreign countries such as England and Italy between the 1840s and 1860s. Additionally, many of the biographies and articles we deal with often build on intimate knowledge. Today, I introduce a blog series that revolves around the perks and intricacies of archival research, and takes into consideration the form of intimate knowledge that is constitutive of gossip. We will post a small series of entries covering the topics of accessing archival documents, deciphering them, and working with/creating intimate, archival narratives.

While Katrin Horn’s blog post to the GHI blog ‘History of Knowledge’ discusses the significance of gossip as a form of knowledge, this blog entry engages with practical questions and implications for our archival research, which address tacit knowledge and a woman who polarized her audiences transatlantically both on and off the stage. Issues range from accessing and deciphering archival documents to making use of intimate knowledge accounts.

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Posted on by Katrin Horn

Archives of Queer Intimacy

(or: musings on past obsessions and a new publication)

In my attempts to make sense of my encounters with ‘the archive’, I’ve stumbled upon Maryanne Dever’s article “Garbo’s Foot, Or, Sex, Socks, and Letters” (2010), which not only namechecks about 50% of my interests in its title, but also – and more importantly – makes a wonderful case for archival absences (“nothing”) as evidence. The introductory paragraph reads as follows:

In November 2006 I found myself staring at item no. 80 from Box 23 of the Greta Garbo material held at the Rosenbach Museum and Library in Philadelphia […] this visit was the culmination of a six-year desire to see what ‘nothing’ looked like.

(Dever 2010 163)
Garbo and de Acosta, 1930s

“Nothing,” of course, being the relationship between Greta Garbo and Mercedes de Acosta – according to the Rosenbach Museum and other “stake holders” in Garbo’s posthumous fame, a wishful thinking, a figment of people’s imagination. Certainly not a defining part of the life and legacy of one of cinema’s most enigmatic stars.

If we count more metaphorical archives (of popular culture, of auto/biographies), then I’ve searched them for “something” – meaning, traces, evidence, inspiration, whatever you wanna call it – where “nothing” was supposed to be for a very long time. In my early twenties, I devoured biographies like Barry Paris’ Garbo and de Acosta’s infamous Here Lies the Heart. I might have watched more movies and series for subtext than for main text. Always sure, there was something. (I’m not claiming my interest in gossip is neutral.)

Castle, Terry (1993): The Apparitional Lesbian. Female Homosexuality and Modern Culture. New York: Columbia UP.
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Posted on by Katrin Horn

History Of Knowledge

Blog Post on Gossip

After my research stay at the German Historical Institute in Washington, DC, last spring, the editors of their History of Knowledge-Blog kindly invited me to contribute a blog post on gossip’s relevance to studying the history of knowledge.

My thoughts on gossip, queer history, and archives entitled “An Intimate Knowledge of the Past? Gossip in the Archives” can be found here.

Besides some theoretical observations about what defines gossip and how we know history, the post also has ALL the drama of Charlotte Cushman’s most notorious break-up.

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Posted on by Katrin Horn

Euphemism Challenge

A (growing) list of the best, worst, and – quite frankly – weirdest descriptions of Cushman’s relationships (with friends as well as lovers).

What’s gossip without a fitting code, after all?

  • “Both Nathanial and Sopia Hawthorne, nonetheless, took an instant liking to the young sculptress [Hosmer] on a visit to her studio in 1858, but William Story frowned on these independent females, who struck him as a distasteful crowd of Bohemians.” (Paul Baker, Fortunate Pilgrims. Americans in Italy, 1800-1860, 1964)
  • “Charlotte Cushman allowed her friend Emma Stebbins to edit her memoirs and letters just before her death.” (Nan Mullenneaux, Staging Family: Domestic Deceptions fo Mid-Nineteenth-Century American Actresses, 2018) [I find this one particularly galling, since the author repeatedly quotes from Merrill, and yet … ‘her friend’]
  • Emma Stebbins “formed a warm friendship with Charlotte Cushman, in whose shadow she thereafter contentedly lived.” (Margaret Farrand Thorp, The Literary Sculptors, 1965)
  • “harem (scarem) as I call […] the emancipated females who dwell there in heavenly unity; namely, the Cushman, Grace Greenwood, H., S.,and Co.;” (William Wetmore Story to J.R.Lowell, 1953, qtd. in (William Wetmore Story and His Friends, Vol. 1, Henry James, 1903)
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Posted on by Katrin Horn

First Project Publication

The most tangible result of my time at the Library of Congress so far: my article on the uses of gossip in Edith Wharton’s fiction is now available online!

Abstract:
In the United States of the late nineteenth century, the home was increasingly discussed in terms of privacy and the domestic was viewed as a protected “feminine sphere.” Focusing on the work of an author almost synonymous with the literary depiction of homes, Edith Wharton, this article questions domestic myths of the US home. As a vehicle for its critique, it relies on a mode of communication that is firmly located in the domestic sphere and yet destabilizes its premises of privacy and sanctity: gossip. By analyzing the depiction of homes and the reliance on “idle talk” as both content and narrative technique in “The Lady’s Maid’s Bell,” The House of Mirth, The Custom of the Country, and Summer, the article shows how Wharton exposes the feminine sphere as a dangerous place. To this end, she combines elements of Gothic fiction that subvert the domestic ideal with depictions of homes that are porous to gossip, which both uncovers abuses and invites them. Concentrating her attention on female protagonists (rather than enfranchised white men), Wharton paints a drastically different picture of the home and the possibility of shielding the private from economic or public concerns than evoked in contemporary legal and journalistic discourses.

(author: Katrin Horn)

Posted on by Katrin Horn

Disapproving in Style!

Gossip Poetry from the 1880s

That many people aren’t exactly fans of gossip (and haven’t been in the nineteenth century), isn’t new to me. That people felt strongly enough about it to put their disapproval into rhyme, however, is definitely a new insight! 
“Gadding and Gossip” by Georgia A. Peck, Good Housekeeping (Dec 29, 1888: 906)
“They Say” by Richard S. Spofford, Harper’s Bazaar (Oct 31, 1885: 19)

(author: Katrin Horn)