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She Left Nothing in Particular: The Autobiographical Legacy of Nineteenth-Century Women's Diaries (review)

She Left Nothing in Particular: The Autobiographical Legacy of Nineteenth-Century Women's Diaries... 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 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Legacy University of Nebraska Press

She Left Nothing in Particular: The Autobiographical Legacy of Nineteenth-Century Women's Diaries (review)

Legacy , Volume 21 (1) – Jun 25, 2004

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Publisher
University of Nebraska Press
Copyright
Copyright © 2004 The University of Nebraska.
ISSN
1534-0643
Publisher site
See Article on Publisher Site

Abstract

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

Journal

LegacyUniversity of Nebraska Press

Published: Jun 25, 2004

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