Ecofeminism and Nineteenth-Century Literature
Ecologically centered discipline that critiques the dominant male practices and discourses relating to nature.
Ecological feminism, or ecofeminism, is an interdisciplinary movement that calls for a new way of thinking about nature, politics, and spirituality. Ecofeminist theory questions or rejects previously held patriarchal paradigms and holds that the domination of women by men is intimately linked to the destruction of the environment. Ecofeminists argue that traditional male-centered approaches involving exploitation of and supremacy over women are echoed in patriarchal practices and discourse with respect to the environment. Ecofeminism came into being in the early 1970s in the United States, when a number of women became disillusioned with the mainstream environmental movement and sought to create more awareness among feminists about environmental concerns. Feminists before this had seen it as important to deemphasize the differences between men and women, but ecofeminists embarked on a study of particularly female ways of being and thinking about nature throughout history. Thinkers in various fields, from science to anthropology, sociology, history, and politics began to critique traditional attitudes toward the environment from a feminist perspective. In the 1990s, a field of study called ecocriticism—an earth-centered approach to literary studies—began to emerge in literature departments in the United States. Ecocriticism studies the relationship between literature and the physical environment, asking how nature is represented in literary works. While ecofeminist literary criticism is similarly concerned with the depiction of nature, it emphasizes how traditional representations often see the land as innocent, female, and ripe for exploitation.
While ecofeminist literary critics examine literature from all cultures and throughout history to explore female perspectives on nature, nineteenth-century English and American literature is seen as a particularly rich area of study. As ecofeminist literary critics have shown, nature writing by women in both England and the United States flourished in the nineteenth century. The study of flora and fauna, which could be done relatively close to home, was seen as a respectable occupation for middle- and upper-class women; thus, a number of them took an interest in writing about their natural environment. Few of these female nature writers are well-known outside scholarly circles, but they are seen as important because they offer radically different perspectives on the study of plants and animals than do their male contemporaries. Also significant is that many of these women regarded nature as a liberating force, especially in contrast to their confining domestic existences.
For many nineteenth-century women, the sense of place was an important aspect of their writing and many wrote about the local landscape that was often an integral part of their daily life. One of the best-known writers who made place a central element in her fiction was the American novelist Sarah Orne Jewett. The Country of the Pointed Firs (1896), for example, is set in the fictional town of Dunnett Landing on the coast of Maine, and the action of the novel revolves around the town and surrounding islands. The story is of a young woman writer who spends a summer in the small town, where she falls in with a group of women who weave a web of stories about the place and its people. Jewett also portrays this circle of women as a manifestation of nature that seems to arise from the rugged landscape. Another important, but neglected, work about place is Rural Hours (1850) by Susan Fenimore Cooper, the daughter of the novelist James Fenimore Cooper. Rural Hours is one of the earliest examples of American nature writing and the first by a woman. In this work, Cooper describes an ideal rural society based on her experiences during her excursions in the local countryside. She also shows how that society is changing as the wilderness recedes and industrialization looms. Cooper suggests that knowledge of place encourages people to respect the land, and she discusses the moral obligation of human beings to create a society that is aware of the natural history of the environment and lives in harmony with the natural world.
Other female writers wrote about place not because it was familiar but because it was new and different from what they left behind as they sought a better life in new and distant regions. Many American frontierswomen left accounts of their travel experiences in diaries and letters which have been collected and studied by feminist scholars. These documents show how different their perspectives were from their male contemporaries. For many women, life on the frontier meant further drudgery and hard work doing domestic chores, and consequently they had a different sense of the possibilities of the landscape than did their husbands and sons. Other women travelers noted in their writings that despite the promise of untouched landscapes, women's domestic captivity prevented them from enjoying what the land had to offer. This is, for example, one of the themes of Margaret Fuller's Summer on the Lakes, in 1843 (1844), which chronicles the travels of Fuller and her companions as they visit Niagara Falls, the Great Lakes, Chicago, and the Wisconsin Territory.
Nineteenth-century nature writing by women took various forms, but one theme that is seen in most of these works is the importance of the link between human beings and their natural surroundings. For most female writers, concern with the environment is not tied to a romantic longing for the openness of the rugged landscape or the withdrawal from society, which are common themes in men's nature writing. Rather, the earth is seen as the sustainer of human life and relationships, and the fragile boundary between nature and humanity is emphasized. Critics who study these women's writings have been particularly interested to show how the “gendered” female landscape that is central to nineteenth-century male writing about the environment is given more complex expression in works by women. They also show how female writing about the environment weaves together concerns about ordinary life and explores questions of community, gender, domination, and exploitation.
Libby: The Sketches, Letters & Journal of Libby Beaman, Recorded in the Pribilof Islands, 1879-1880 (sketches, letters, and journals) 1998
Susan Fenimore Cooper
Rural Hours (nonfiction) 1850; revised 1887
Summer on the Lakes, in 1843 (nonfiction) 1844
Sarah Orne Jewett
Deephaven (novel) 1877
The Country of Pointed Firs (novel) 1896
A New Home—Who'll Follow? Or, Glimpses of Western Life (nonfiction) 1844
Recollections of a Happy Life (memoirs) 1894
Harriet Beecher Stowe
A Minister's Wooing (novel) 1860
Among the Isles of Shoals (nonfiction) 1873
The Wide, Wide World (novel) 1850
Letters Written during a Short Residence in Sweden, Norway, and Denmark (letters) 1796
Journal of a Tour on the Continent (journal) 1941
Journals of Dorothy Wordsworth. 2 vols. (journals) 1941
SOURCE: Buell, Lawrence. “Pastoral Ideology.” In The Environmental Imagination: Thoreau, Nature Writing, and the Formation of American Culture, pp. 31-52. Cambridge: The Belknap Press of Harvard University Press, 1995.
[In the following excerpt, Buell discusses the distinct manner in which nineteenth-century women depicted nature.]
The feminist critique of wilderness romance should not block us from seeing how pastoral modes have functioned as a means of empowerment for women writers. While researching environmental writing and commentary from Thoreau's day to ours, I was surprised to find a significant degree of interdependence between the “major” male figures...
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SOURCE: Donovan, Josephine. “Ecofeminist Literary Criticism: Reading the Orange.” In Ecofeminist Literary Criticism: Theory, Interpretation, Pedagogy, edited by Greta Gaard and Patrick D. Murphy, pp. 74-96. Urbana: University of Illinois Press, 1998.
[In the following essay, Donovan posits that Western literary discourse has objectified and degraded nature by using inaccurate symbols (words) to displace the true meaning of the thing being described. According to Donovan, a better approach would be to direct close attention at each individual subject and to portray it in the most literal terms in order to provide a respectful description without distortion.]
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SOURCE: Littenberg, Marcia B. “Gender and Genre: A New Perspective on Nineteenth-Century Women's Nature Writing.” In Such News of the Land: U. S. Women Nature Writers, edited by Thomas S. Edwards and Elizabeth A. DeWolfe, pp. 59-67. Hanover, N. H.: University Press of New England, 2001.
[In the following essay, Littenberg discusses the conditions surrounding the flourishing of women's nature writing in the late nineteenth century.]
In the last decades of the nineteenth century, American popular culture embraced nature and nature study in a number of important ways that encouraged women writers. Women writers published in a wide variety of popular magazines, as well...
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