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portray Native Americans as either noble victims or savage marauders. The brief discussion of bicultural ambivalence in these texts deserves a longer treatment in this book and should be taken up by future scholars as should Ranta's intriguing identification of the often-used but under-discussed "dream vision" genre in nineteenth century popular literature. It is unfortunate that Ranta shies away from grappling with the serious and overarching questions raised by Betsey Chamberlain's work: What "counts" as native writing? And how can nativeness be measured in text? What Ranta has successfully done, however, is to make possible further work on Chamberlain and on a multicultural presence in America's literary and labor history by giving Lowell scholars access to this fresh corpus of material. She Left Nothing in Particular: The Autobiographical Legacy of Nineteenth-Century Women's Diaries. By Amy L. Wink. Knoxville: University of Tennessee Press, 2001. 162 pp. $25.00. Reviewed by Lisa A. Long, North Central College Amy L.Wink's compact study of nineteenth-century American women diarists, She Left Nothing in Particular: The Autobiographical Legacy of Nineteenth-Century Women's Diaries, begins by taking issue with scholarship that validates women's diary writing by arguing for its connections to the more respected genre of masculine
Legacy – University of Nebraska Press
Published: Jun 25, 2004
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