Margaret Sanger Papers Project

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Selected materials by and about the "birth control pioneer" Margaret Sanger (1879–1966) are provided here. A link to a companion site offers approximately 200 documents dealing with The Woman Rebel, Sanger's 1914 radical feminist monthly, for which she was indicted and tried for violation of federal obscenity laws.

The project plans to digitize more than 600 of Sanger's speeches and articles. At present, there are 25 transcribed speeches, 182 newspaper articles from 1911–1921, four public statements, a letter written by Sanger in 1915, and more than 50 articles from the Margaret Sanger Papers Project Newsletter, some of which contain primary source materials. There are plans to add to items regularly. Materials also include 27 links to sites offering Sanger writings, a biographical essay, and a bibliography. Links to collections of images and an MP3 file of Margaret Sanger's 1953 "This I Believe" speech are also available.

Living the Legacy: The Women's Rights Movement, 1848-1998 jmccartney Thu, 09/10/2009 - 08:02
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Logo, Living the Legacy: The Women's Rights Movement
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Furnishes secondary materials concerning women's rights efforts in the U.S. from 1848 to the present. Includes a 5,000-word history of the movement; a 7,000-word chronology of political activism; six curriculum ideas; a detailed list of activities for high school students, librarians, and teachers to celebrate the 150th anniversary of the movement; listings for 54 prominent women's history organizations, arranged alphabetically by state; basic information and/or links for 60 groups that treat contemporary women's issues; and descriptive listings for 18 "costumed history performers" who portray public figures in women's history. The site is sponsored by the National Women's History Project, "a nonprofit organization, founded in 1980, that is committed to providing education, promotional materials, and informational services to recognize and celebrate women's diverse lives and historic contributions to society."

Memories of the IWW by Elizabeth Gurley Flynn

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Transcription of 30-page address by Elizabeth Gurley Flynn in 1962 at Northern Illinois University discussing memories of the Industrial Workers of the World (IWW). Flynn talked about the Lawrence strike of 1912, Big Bill Haywood, Joe Hill, and the red scare of 1919. The words, music, and sheet music cover for Hill's song, "The Rebel Girl," are included in the transcription. The speech is illustrated with four photographs of Flynn, Haywood, and the Lawrence strike and followed by nine questions from the audience and Flynn's answers. Links throughout the text connect visitors to one to 15 pages of background information on names, events, and themes in Flynn's speech, but many do not work. A bibliography recommends four books and one movie about Flynn. The site will be interesting for anyone researching Flynn, labor or radicalism in the early 20th century, or the IWW.

Industrializing Women

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Photo, Competing with the mule, c. 1936, Bigelow-Sanford Carpet Company, Baker L
Question

I am writing a research paper on women and industrialization. There are conflicting ideas of how industrialization impacted women. Some sources say that more women were confined to the "domestic sphere" while their husbands left home and worked in the "public sphere," while other sources say the industrial revolution was a catalyst for women entering the workforce. Which one is it? Thanks!

Answer

Both are true, though neither is the whole story.

Industrialization and the factory system that helped launch it were both part of a larger shift in the American economy from an agricultural economy to one characterized by wage labor. In 1800, for example, three quarters of the nation's workforce was "agricultural"; by 1900, the industrial and service sectors accounted for two-thirds of the workforce. As wage labor supplanted agricultural labor, growing numbers of women entered the paid workforce while unpaid housework took on new cultural and economic significance.

In a very straightforward way, the industrial revolution prompted women to enter the paid workforce. The textile industry provides a vivid illustration. The town of Lowell, MA, for example, was incorporated in 1826 and soon hosted over 30 different mills. Roughly three-quarters of their workers were women, who became nationally known as the "Lowell Mill Girls." In this the textile industry led a broader trend. Between 1850 and 1900, the percentage of all women aged 16 years or older employed in manufacturing industries—most of whom could be categorized as "working class"—ranged between 16 and 23 percent.

In addition to prompting many women to take paid work outside the home, the industrial revolution changed the cultural and economic value of unpaid "housework.

In addition to prompting many women to take paid work outside the home, the industrial revolution changed the cultural and economic value of unpaid "housework." Although much of the actual work that women performed in the "domestic sphere" remained the same across the 19th century—cooking, cleaning, caring for children, maintaining family social relationships, and otherwise managing the household economy—culturally it lost much of its former value. As one historian has put it, the "gender division of labor" that once existed slowly became "a gendered definition of labor": men earned wages outside the home ("labor"), and women did unpaid work ("not labor") within it.

Yet this cultural devaluation of women's household work masked its continuing, deep-seated economic importance. Few working-class male wage-earners, for example, earned enough cash to meet all household economic needs, and relied on women's unpaid labor to make up the difference. In other words, working-class women's unpaid work was integral to the basic process of industrialization, providing a hidden "subsidy" to manufacturers that allowed them to pay less-than-subsistence wages to their employees. In this sense, both of the major types of work that women performed—paid and unpaid—were economically significant components of the industrial revolution in the United States.

For more information
Bibliography

Film Review: Amelia

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photographic print, Amelia Earhart, 1928, LOC
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What is the cultural terrain staked out by Amelia, the Hollywood biopic about the intrepid flyer Amelia Earhart? The quick shots that precede the opening credits direct attention to the particular themes that the screenwriters Ron Bass and Anna Hamilton Phelan have emphasized in their feature about the flyer. Her airplane taking off into the dark gestures to the mystery of her last flight and her disappearance without a trace. Her celebrity status is indicated by cheering crowds, radio interviews, and photographs, and it fuses seamlessly with her status as an object of heterosexual adoration once we learn that her publicity is orchestrated by her promoter/husband George P. Putnam. There are intimations of Earhart's adventurous and dauntless spirit via a more hopeful takeoff into a dawn sky, expansive aerial views accompanied by soaring music, and a playful exchange between Earhart and her navigator crewman. There are reminders of the enormous risks of her flights, voiced here and later in the film by the concerned husband. Scenes alternate between a serene and smiling Earhart at the controls, the vastness of the ocean, and the ambiguity of the clouds. The plot features the bold and daring female pilot, glamorous celebrity, and gloriously heterosexual romantic partner who had it all, lost it all, and defied death's inevitability by disappearing into a mystery.

Amelia failed to find much of an audience because no one connected with the production was interested in representing anything about the past.

Cast in the principal roles are two-time Oscar-winner Hilary Swank as Amelia Earhart, Richard Gere as Putnam, and Ewan MacGregor as Earhart's admiring lover and aviation pioneer Gene Vidal. The director, Mira Nair, made her name on very distinctive and widely admired films, including Salaam Bombay! (1988), Mississippi Masala (1992), and Monsoon Wedding (2002). The screenwriters Bass and Phelan have produced acclaimed screenplays from original and adapted material. Bass wrote the award-winning original screenplays for Rain Man (1988) and adaptations for The Joy Luck Club (1993) and Snow Falling on Cedars (1999). Phelan was responsible for Mask (1985), Gorillas in the Mist: The Story of Dian Fossey (1988), and Girl, Interrupted (1999). They based Amelia on Mary Lovell's The Sound of Wings (1989) and Susan Butler's East to the Dawn (1997); both have been reissued in connection with the film's release.

Cultural fascination with Amelia Earhart has been extensive. She has been the subject of countless biographies, novels (Jane Mendelsohn, I Was Amelia Earhart, 1997), and films, and her name continues to circulate on school buildings, in poetry, and in song. Her likeness was also used in advertising campaigns for Gap clothing (specifically women's khakis) and Apple computers.

Yet reviewers and audiences responded to Amelia with a notable lack of enthusiasm. Reviewers were fairly unanimous in describing the film's plot and acting as lifeless and in labeling the visual images and dialogue as unbearably clichéd. Audiences voted with their feet, producing minimal ticket sales that lagged far behind the film's cost.

Amelia failed to find much of an audience because no one connected with the production was interested in representing anything about the past. History offered only a “look” for whatever artful stylistic elements could contribute novelty to costume and production design. The filmmakers appear to have been drawn to Earhart's story because they imagined its themes to neatly mirror the present, with Earhart's subjectivity the same as their own. They found Earhart compelling because she seemed to present a contemporary female ideal: successfully competing on previously male terrain while remaining an object of male desire. Imagining a personage from the past as a contemporary heroine promotes her significance as outside of history, as timeless.

Imagining a personage from the past as a contemporary heroine promotes her significance as outside of history, as timeless.

The film's producer Ted Waitt praised Earhart as a role model because she engaged in “the extreme sport” of flying and because “the risks that she faced took an incredible amount of guts” (David Carr, “Earhart's Mystique Takes Wing Again,” New York Times, Oct. 16, 2009, p. B4). Waitt has been described as “something of an adventurer himself,” and one of the many amateur investigators committing time and money to trying to solve the mystery of Earhart's death (ibid.). Amelia was the first feature produced by Avalon Pictures, a subsidiary of Avalon Capital group, a private investment company run by Waitt.

Elgen Long, a retired commercial pilot and the technical consultant on the film, credits Earhart individually as being “responsible for so many things we take for granted these days . . . in aviation and in the rights of women” (ibid.). Swank, who was instrumental in developing the project and is credited as executive producer, describes Earhart as expressing her own values: “I believe that you can live your life the way you want, find love, and experience your dreams. You can have it all. . . . For a short time, Amelia had it all” (Cindy Pearlman, “No Mystery surrounding Amelia Star,” Chicago Sun-Times, Oct. 25, 2009, p. A7). Director Nair's comments have emphasized Earhart as the first modern celebrity, the uncanny physical and oral resemblance achieved by Swank's performance, and also her own personal identification with Earhart—“the more I read about her, the more I thought she is like I was” (Carr, “Earhart's Mystique Takes Wing Again,” B4).

One result of abandoning the exploration of the past as “a foreign country” is that a “timeless” life story mirroring contemporary ideals easily becomes merely conventional. After one quick pleasurable moment of recognizing a 1930s icon as “just like us,” viewers realize that they have seen all this before: personal accomplishment resulting in and affirmed by popular celebrity; female public achievement as compatible with, resulting in, and perhaps even enhancing heterosexual and romantic allure; eventual success as the triumph of individual aspirations and single-minded commitment.

After one quick pleasurable moment of recognizing a 1930s icon as “just like us,” viewers realize that they have seen all this before....

The film's focus on Earhart between 1928 and 1937 requires telescoping whatever was distinctive in her personal historical development. Its insistence on her life as exceptional requires effacing any mention of precedents or peers for the unconventional alternatives she explored. The economy of film storytelling always requires difficult choices, but consider what Amelia left out. The film offers nothing about Earhart's class position: as the daughter of a lawyer-turned-railroad-claims-agent and a mother whose own father was a former federal judge, the president of the local savings bank, and a leading citizen of Atchison, KS. Earhart's mother supported advanced education for her daughters in an era when only 4% of women (and only 6% of men) completed four years of college. The film offers no glimpses of Earhart's childhood pursuits of outdoor physical play, her self-described “special glee” in putting on bloomer-type gym clothes and going out to shock “all the nice little girls.”

The film makes not a single gesture toward explaining the development of Earhart's gender, social, and political consciousness. There are no hints of her experience as a volunteer nurse's aide in a Canadian military hospital during World War I that stimulated both her interest in flying and a lifelong commitment to pacifism. There is no mention of the annotated scrapbook of “women's accomplishments” she kept in the 1920s, focusing on female social workers and reformers who moved into government and public life and women who combined marriage and career. The film does not show the various jobs that Earhart took to pay for her expensive hobby, or her initial flying lessons from a female pilot, nor does it provide any explanation of her stature among female pilots. There are no references to her work at a Boston settlement house or her membership in the National Women's Party or her support for birth control.

The film makes not a single gesture toward explaining the development of Earhart's gender, social, and political consciousness.

Without knowing the significance of Earhart's public endorsement of Franklin D. Roosevelt and the New Deal, the scene of Earhart taking Eleanor Roosevelt out for a night flight over Washington, DC, conveys only giddy adventure and the seductive appeal of flight to an older and presumably more staid woman. Earhart's unconventional marital arrangement and experimentation with sexual freedom is represented as her individual invention, rather than as her participation in alternative norms that were explored by many writers and artists, journalists, and performers in the 1920s. (See Susan Ware, Still Missing: Amelia Earhart and the Search for Modern Feminism [1994].)

In the film, Earhart's female accomplishments are explained in terms of her personal single-minded passion, from watching an airplane flying over Kansas fields to jumping at the chance to be the first female passenger to fly across the Atlantic in 1928 to her record-setting solo flights in 1932 and 1935. There are brief invocations of all-female settings: Earhart answers questions for women's audiences, she competes in (but does not win) a women's air derby; she gives a magnanimous speech claiming that a victory for any female flyer is a victory for her. Using faux newsreels, the film announces, but does not explain, the formation of the 99s, an organization for women pilots. But throughout, the film points to men as Amelia's key influences: her father's psychological legacy and her relationship with Putnam.

Amelia foregrounds romance, although there is controversy among Earhart biographers about how to understand her partnership with Putnam, including its commercial and entrepreneurial aspects. The film portrays his love as genuine and expansively embracing her romance with flight, and in doing so, displaces commerce as the driving force in maintaining her celebrity. An initial hint that Putnam's original interest in Earhart was financial is raised, only to be undermined with two shots predicting their romantic future, showing Putnam easily slipping from managing her appearance to initiating their first kiss. The film imagines Earhart as a willing heterosexual partner, amenable to marriage if, as she explains in a prenuptial letter, that status does not include conventional fidelity, domesticity, or motherhood.

Amelia foregrounds romance, although there is controversy among Earhart biographers about how to understand her partnership with Putnam....

The possibility that commerce and romance are not perfectly compatible does briefly surface but is contained by the narrative. In one scene Earhart complains about the grueling demands of the promotional apparatus that Putnam has arranged: “Here I am jumping through hoops just like the little white horse in the circus.” That comment could direct our attention to the hard work of creating and maintaining popular celebrity. Instead, Putnam emphasizes to Amelia and the audience that there really is no conflict between love and commerce or between love and flying, and that he consistently has Earhart's best interests at heart. He offers his proposal of marriage as a chance to let him give her whatever she wants and promises repeatedly that all his promotional efforts are devoted only to financing her flying. Putnam's true love and Earhart's full assimilation of the commercial apparatus is finally verified in their goodbye preceding what will be her last flight in 1937, where he raises the possibility of cancelling the globe-circling trip, despite huge financial losses, and she answers him that to exit now would be as “stupid as cash withdrawing from the banks.” She then reasserts her transcendent goal as synonymous with her personal integrity because the flight is “not something to show the world, [but] something to show me.”

The film performs a similar sleight of hand in questioning and then affirming Earhart's heterosexual bona fides. The dialogue is coded to reframe Earhart's boyish dress and her camaraderie with male crew and associates under the rubric of a masculine identification that gives way to mature heterosexuality. In a scene between Vidal and Earhart at a nightclub, Earhart, who is glamorously dressed in evening wear, admires a woman's legs. Vidal queries her: “I thought you just wanted to be one of the boys.” Her answer, “that might have been true at one time, but not any more,” immediately precedes the breathless kiss in an elevator that signals the start of their affair.

The ending of the film offers a message of timeless inspiration rather than historical ambiguity and uncertainty.

The ending of the film offers a message of timeless inspiration rather than historical ambiguity and uncertainty. Amelia presents Earhart's disappearance as caused by unsurprising difficulties: an improbable plan for refueling on a tiny, barely visible Howland Island and faulty communications. Although some at the time questioned the plans for this flight, the film's focus here is on Earhart's quest—her resolute courage in the face of death—contrasting her composure with the more ordinary (and “feminine”) response of her navigator Fred Noonan, who anxiously prays. Nair commented that their strategy for the film was to “dramatize the last 20 minutes of her life with the real transmissions from the flight.” She portrayed Earhart's risk taking and her final moments as representing the human condition and hopes that “people will see themselves in her decisions to set aside her fears and live her life to the fullest” (Pearlman, “No Mystery Surrounding Amelia Star,” p. A7). But by this point in the film, Earhart's actual words from the cockpit cannot break through the kinds of visual and verbal clichés the filmmakers have substituted for the flyer's distinctive voice and moment. Amelia leaves the fascinating historical Earhart “still missing.”

Bibliography

This review was first published in The Journal of American History, (2010) 97 (1): 274-277. Reprinted with permission from the Organization of American Historians (OAH).

Remember the Ladies—But Not Just in March

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Library of Congress, Suffrage parade,   (b&w film copy neg.)
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Shirley Chisolm, the first African American woman elected to Congress and the first woman to run for president of the United States in 1972, once stated, "Of my two 'handicaps,' being female put more obstacles in my path than being black."

It's perhaps a surprising point of view—but in light of the recent presidential election, perhaps not. The election brought both race and gender to the forefront, often on waves of euphoria pushed by hope that the nation has moved a long way beyond a culture of discrimination. But how far have we actually come, and how much farther do we need to go? Women's History Month in March, following on the heels of Black History Month, is a chance to examine the trajectory and distance of that progress. One question for teachers is how integrate this narrative into the curriculum.

Educators and historians question the value of isolating women's history—and African American history—by focusing on "firsts" or on prominent individuals—and by limiting this focus to one month a year. "Women's history exists always within the context of universal history," wrote historian Gilda Lerner. "[It] takes place within the context of the political and social life shared by men and women."

The resources below, while focusing on women, demonstrate that integration into the greater narrative of American and global history. They represent only a sample of available materials.

Solid preparation in women's history is now critical for history teachers . . . to enable them to present an accurate and inclusive version of American history.

A new book, Clio in the Classroom: A Guide to Teaching U.S. Women's History, edited by Carol Berkin, Margaret S. Crocco, and Barbara Winslow, (Oxford University Press, 2009) is central to the discussion of the place of women's history in the curriculum. Their goal, the editors explain, is to consider how to integrate women's history "into the traditional American history narrative." Clio in the Classroom approaches their goal in three categories: up-to-date overviews of American women's history divided into eras from colonial to the present; conceptualization of the issues in women's history; and approaches and materials for incorporating women's voices into the curriculum. An essay on applying the historical thinking process to women's history and a rich compendium of resources are part of the volume.

Women's History: a Quick Cyberguide, by Arnold Pulda on AP Central on the College Board website, addresses how to include women's history in the AP U.S. history course. "We may not have, say, two weeks to focus exclusively on women's history," Pulda writes, "but we do have 40 weeks to make sure that students take notice of the threads that make up the entire strand as we progress along its length, and to pay attention when that thread is more or less prominent in the whole, and why."

Websites

Links below lead to a few of the reviews and websites on women's history included in the Clearinghouse database of website reviews.

Women and Social Movements in the United States, 1600-2000
Jewish Women's Archives
Emma Goldman Papers
Kate and Sue McBeth: Missionary Teachers to the Nez Perce
Do History: Martha Ballard's Diary Online
Votes for Women: Selections from the National American Woman Suffrage Association Collection, 1848–1921
Urban Experience in Chicago: Hull-House and Its Neighborhoods, 1889–1963

Museums and Historic Sites

Teaching with images? The National Portrait Gallery of the Smithsonian hosts an online Flash exhibit, Women Of Our Time. The exhibit includes three sections: Gallery, Biographical Moments, and Styles Gallery summarizes women's advances and looks at notable women of achievement in business, politics, social movements, and entertainment. Biographical Moments includes a curator's explanation of the role of portraiture in documenting a life, providing insights into interpreting portrait photographs. Styles explores the work of individual photographers, including Edward Steichen and Louise Dahl Wolfe and places their work within the photographic conventions of their times.

The Organization of American Historians hosts the National Collaborative for Women's History Sites, and the National Park Service itemizes lesson plans related to teaching women's history through historic sites through models diversified by race, geography, and time period.

Women's History Teaching Resources from the Smithsonian categorizes resources on women's history by race and ethnicity, professions, and events.

Multimedia

A YouTube series, Facts on Congress, includes a one-minute quick quiz on Women in Congress.

A search on the History Channel under video using the search term women yields audio and video files lasting 30 seconds to four minutes. Some are commentary: Maya Angelou tackles gender and race through comments about the Women's Movement and her memories of Eleanor Roosevelt and Rosa Parks. Some are historic footage: a newsclip from 1943 celebrates the first birthday of the Women's Auxiliary Army Corps, the predecessor of the Women's Army Corps. This video is both a primary and secondary source—it reveals multiple perspectives on contemporary attitudes toward women. (Brief commercial messages accompany many History Channel videos.)

A search through the P.O.V Blog (Point of View) on PBS provides lists of documentaries, including Chisholm '72: Unbought and Unbossed. The film is available through Netflix. The PBS site includes lesson plans and additional resources.

Also on PBS, the American Experience series offers a film on Woodrow Wilson. A full transcript of the program is available online, and the accompanying teachers guide offers a lesson on Women's Suffrage for grades 7–12. The lesson begins by pointing out that Wilson's first wife did not have the right to vote for her husband and branches from there into a look at phases of the women's suffrage movement, obstacles, and the Wilson administration's stance on women's suffrage.

Libraries and Archives

American Women's History: A Research Guide, a resource from the Middle Tennessee State University Library, is an extensive gateway to collections of women's history resources—print, media, and digitized primary sources—grouped under 75 alphabetized topics ranging from abolitionists to writers to Hispanic Americans, philanthropists, sports, and work.

The Library of Congress window on materials about women's history, Women's History Month, leads to a wealth of materials recognizing "the creativity, imagination, and vitality of women throughout U.S. history." Materials still available from 2008 emphasized the theme Women's Art, Women's Vision.

At the Library of Congress, see also "Votes for Women" Suffrage Pictures, 1850–1920

Pathfinder for Women's History at the National Archives systematizes the hunt for resources through defined categories of Primary Documents, Monographs and Anthologies, and Reference Works.

For primary source documents, see Teaching With Documents: Woman Suffrage and the Nineteenth Amendment on the National Archives site.

Miscellany

A 12th-grade curriculum module from Annenberg Media, titled Gender-based Distinctions, analyzes the question, "When does the government have the right to treat men and women differently?" Students debate gender discrimination laws. Title IX, the Civil Rights Act of 1964 and the 1972 Amendments, and court cases are among examined materials. A video demonstrates classroom implementation of the lesson plan. Annenberg requires a login; online materials are free of charge.

Also from Annenberg: The Lowell System: Women in a New Industrial Society, Workshop Three of Primary Sources: Workshops in American History, illustrates through primary source documents just how much industrialization changed the lives of women. Documents, activities, videos, and lecture transcripts are available on the website.

And Annenberg recommends Remember the Ladies, correspondence between Abigail Adams and her husband, John Adams, in 1776, and speeches by Sojourner Truth, on the website for America's History in the Making. Also see the program Industrializing America to trace the developments leading to women's entry into the workforce en masse.

The Women In World History website includes a resource page, Teaching Women's Rights from Past to Present. Resources include lesson plans, links to primary source documents and analysis, and an emphasis on law and policy demonstrating a formal extension of women's rights.

In 2007, Scholastic Magazine asked filmmaker Anne Aghion about Women's History Month. Her response: it made her sad that Women's History Month was even needed, but, "The truth is, women still have to work harder than men do to succeed in certain professions." Scholastic's activities for students grades 5–8 include Women's Suffrage, a unit including interactive maps and quizzes and the stories of one woman who remembered casting her first vote in 1920.

PBS Kids offers a contextualized essay on Alice Paul and the National Women's Party.

Women In Congress a rich website of the Office of the Clerk, U.S. Capitol, includes historical essays, artifacts, fast facts, and educational resources—including seven lesson plans.

Godey's Lady's Book Online

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Cover Image, Godey's Lady's Book
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Provides three full issues—July, August, September 1855—of one of the most popular 19th century publications, Godey's Lady's Book. Each issue includes poetry, engravings, and articles, as well as a section on Victorian fashion. In addition to these full issues, the site also includes a Samples Collection, which features selections from the Book during the years 1855-1858. These samples are divided into six main categories, each of which is further broken down to make the content more accessible. Overall, this is a useful resource for teachers and students interested in aspects of Victorian popular culture.

Voting Rights and the 14th Amendment

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Elizabeth Cady Stanton
Question

How much impact did woman suffragists have on the 14th Amendment? How was it that its provisions did not give women the right to vote? What did the 15th Amendment add that wasn't in the 14th?

Answer

History is messy. And so are politics. A good historian resists the urge to reduce the many causes or meanings of an event to a single one. One of the most persistent urges of students of American history is to try to decide whether the Civil War was "really" about slavery or about states' rights. Another contender for the "real" cause of the war has been the regional tensions between an agrarian and an industrial economy, and another contender, the unequal unfolding in various segments of society of the universal implications of the Enlightenment's principle of individual freedom.

History is messy. And so are politics.

The "real" cause was all of these and more. Those on each side of the conflict acted with a variety of goals, and individuals were commonly motivated by more than one reason.

The 13th Amendment Abolishes Slavery

The complexity of interests, goals, and motivations continued throughout the Reconstruction period after the war. The radical Republicans, who dominated Congress, were determined to complete the task of eliminating slavery. But this meant more than simply abolishing slavery itself, which occurred through the adoption of the 13th Amendment at the end of 1865. (The 13th Amendment wrote the abolition of slavery into the deepest level of American law, making it permanent. Northern abolitionists had worried that the Emancipation Proclamation of 1863 would be attacked after the end of the war as merely a temporary emergency measure.)

freed slaves' legal status was undefined and unclear.

The passage of the 13th Amendment did not end the problem, however, because the freed slaves' legal status was undefined and unclear. From the freed slaves' point of view, this left them without legal protection against attempts in the South to coerce them into a permanent underclass status.

The 14th Amendment Makes Ex-Slaves Citizens

The problem was constitutionally complicated because the pre-war Supreme Court Dred Scott decision had declared black slaves to be non-persons. A 14th Amendment was necessary, therefore, to explicitly establish the status of blacks as persons and citizens through a natural right, inhering simply in having been born in the country and in recognizing their allegiance to it.

This was a philosophical expansion of who was included in the "We the People" phrase in the preamble to the Constitution, but the plight of the still-disenfranchised freed slaves in the South increased the urgency of passing the Amendment. Because the southern states were still occupied federal territory, the freed slaves—for the time being—could be given direct federal protection. However, the states were agitating for readmission to the Union, and their legislative representation had to be calculated. The Constitution had calculated it by counting slaves as three-fifths of a person. That language obviously now had to be amended. In addition, it was urgent that blacks be given full legislative representation to thwart Southern efforts to turn them into a permanent underclass without the full rights of citizens.

Problematic Language in the 14th Amendment

For the advocates of women's rights, this is where it got messy, and where some of the various motivations and goals of those who had previously been working together began to unravel. The radical Republicans who drafted the language of the 14th Amendment realized that by making a "natural rights" case for including blacks as full citizens, with all the rights and obligations, they would be making the same case for women. Had the amendment contained only the language of Section 1, women's rights advocates would have been thrilled because it would have strengthened their argument for female suffrage, even though it had to do with establishing citizenship rather than the right to vote per se:

"Section 1. All persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the State wherein they reside. No State shall make or enforce any law which shall abridge the privileges or immunities of citizens of the United States; nor shall any State deprive any person of life, liberty, or property, without due process of law; nor deny to any person within its jurisdiction the equal protection of the laws."

But this wording would have made the amendment impossible to pass. There was wide political support for protecting the freed slaves, but not for giving women the right to vote.

This political dilemma was "solved" through the language of Section 2, which was needed to specify how the inhabitants of states would be counted for the purpose of legislative representation. It amended the Constitution's "three-fifths" clause.

There was wide political support for protecting the freed slaves, but not for giving women the right to vote.

And a penalty would be exacted from a recalcitrant state for any effort to deny blacks their votes. For each black denied the vote, the state's basis for representation would be reduced by one:

"Section 2. Representatives shall be apportioned among the several States according to their respective numbers, counting the whole number of persons in each State, excluding Indians not taxed. But when the right to vote… is denied to any of the male inhabitants of such State, being twenty-one years of age, and citizens of the United States … the basis of representation therein shall be reduced in the proportion which the number of such male citizens shall bear to the whole number of male citizens twenty-one years of age in such State."

Before the war, a slave state was able to count each slave as three-fifths of a person for the purposes of its apportion representation in Congress. Now, for each black who was denied the vote, the state would be forced to deduct a whole person from its basis for apportioned representation. This would apply strong pressure on the state not to disenfranchise blacks. Simultaneously, however, the language of this section of the amendment, in precisely specifying the calculation to be used, qualified the words "inhabitants" and "citizens" with the word "male."

This section, therefore, both enraged women's rights advocates while also allowing the amendment's proponents enough cover to find the votes for passage because it appeared to limit its effects to expanding the male population eligible to vote. The words "male" and "female" had not appeared in the Constitution before this. And women had been making their strongest Constitutional argument for the right to vote based on the "natural rights" reasoning upon which the Constitution relied. They argued that women already had the right to vote (and had always had it), at least implicitly, in the Constitution, but that mere outmoded convention had prevented that right from being recognized. They had been arguing for woman suffrage, in other words, based on the universal human rights they saw as affirmed by implication in the Constitution.

The Reformers' Coalition Unravels

Most of those who had argued for women's rights before and during the war had also allied themselves strongly with the movement to abolish slavery, linking the two causes on the basis of natural rights. But now, by the insertion of the word "male" into the amendment, the Constitution would no longer be technically gender-blind, but would actively "disfranchise" women. Women's rights advocates were particularly stung by the fact that the amendment was written and was being pushed by the very same reformers, such as Senator Charles Sumner, with whom they had stood shoulder to shoulder in the agitation against slavery.

by the insertion of the word "male" into the amendment, the Constitution would no longer be technically gender-blind

As Elizabeth Cady Stanton remarked on the Republican Congress's determination to extend voting rights to blacks: "to demand his enfranchisement on the broad principle of natural rights, was hedged about with difficulties, as the logical result of such action must be the enfranchisement of all ostracized classes; not only the white women of the entire country, but the slave women of the South … the only way they could open the constitutional door just wide enough to let the black man pass in, was to introduce the word 'male' into the national Constitution."

Wendell Phillips, in 1865, as the new head of the American Anti-Slavery Society, turned the society's sights on ensuring black Americans' civil and political rights, especially suffrage. The old-line anti-slavery agitators understood that trying to extend suffrage to African-Americans would require a huge political battle. Trying to extend suffrage to women, too, at the same time, would be impossible. So now he told the society's annual convention, "I hope in time to be as bold as [British reformer John] Stuart Mill and add to that last clause 'sex'!! But this hour belongs to the negro. As Abraham Lincoln said, 'One War at a time'; so I say, One question at a time. This hour belongs to the negro." Elizabeth Cady Stanton and Susan B. Anthony both understood immediately that this meant that their erstwhile supporters among the abolitionists—many of whom were now in the councils of legislative influence in the Republican Party—were putting the "woman's cause … in deep water."

Congress proposed the 14th Amendment on June 13, 1866. It was ratified and became law on July 9, 1868. Its adoption caused a deep rift among those who, until then, had made common cause. Many of the supporters of the amendment hoped that the issues of black suffrage and woman suffrage could be separated out and treated sequentially, one after the other. And many of them were acting on the pressing need to deal with the issue of black citizenship and suffrage separate from the issue of woman suffrage out of the necessity to cope with the unfolding events in the aftermath of the war.

"This hour belongs to the negro."

Nevertheless, many women's rights activists felt that their cause had been betrayed by their former friends in reform, and that the cause of blacks and women had not just been separated, out of a temporary necessity, but that the cause of women had been set back. Historian Ellen DuBois has noted that this was a watershed event in that women's rights activists, after this, began focusing their organizing efforts specifically on gaining for women the right to vote, rather than relying on broader reforms. They organized both the National Woman's Suffrage Association and the American Woman Suffrage Association in 1869, and began petitioning for a constitutional amendment that would guarantee women the right to vote.

The 15th Amendment Makes Ex-Slaves Voters

As events unfolded in the South, blacks were often excluded from voting by local restrictions of one kind or another, and Congress recognized that constitutionally defining blacks as citizens, through the 14th Amendment, did not absolutely guarantee their right to vote. Consequently, Congress proposed the 15th Amendment on February 26, 1869. It was ratified and became law on February 3, 1870:

"Section 1. The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of race, color, or previous condition of servitude."

For women's rights advocates, this amendment added nothing new to their struggle for suffrage. Especially frustrating for them was the fact that antebellum reformers had often railed against legal limits to freedom based on "race, color, or sex," and the language of this new amendment seemed to them to be a kind of parody of that, in which "sex" was deliberately replaced by "previous condition of servitude," that is, slavery.

It was a painful irony for many women's rights activists, therefore, that they found themselves actively opposing the passage of the amendment (as some of them had opposed the 14th Amendment). The amendment that would guarantee them the right to vote—the 19th—would not become law until 1920.

For more information

"Petition of E. Cady Stanton, Susan B. Anthony, Lucy Stone, and others asking for an amendment of the Constitution that shall prohibit the several States from disfranchising any of their citizens on the ground of sex, ca. 1865," Records of the U.S. House of Representatives, National Archives and Records Administration, Washington, DC. ARC Identifier 306684.

"Form letter from E. Cady Stanton, Susan B. Anthony, and Lucy Stone asking friends to send petitions for women's suffrage to their representatives in Congress, 12/26/1865," Records of the U.S. House of Representatives, National Archives and Records Administration, Washington, DC. ARC Identifier 306686.

National Women's History Project website.

HerStory Scrapbook website.

Bibliography

Elizabeth Cady Stanton, Susan B. Anthony, Matilda Joslyn Gage, eds., History of Woman Suffrage, Volume 2: 1861-1876. Rochester, NY: Privately Printed, 1881, pp. 90-106, 333-362, 407-416.

Ellen Carol DuBois, Feminism and Suffrage: The Emergence of an Independent Women's Movement in America, 1848-1869. Ithaca: Cornell University Press, 1978, pp. 53-72.

Eleanor Flexner and Ellen Fitzpatrick, Century of Struggle: The Woman's Rights Movement in the United States, rev. ed. Cambridge, MA: Harvard University Press, 1996, pp. 136-148.

National Women's History Project

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Logo, National Women's History Project
Annotation

Introduces the National Women's History Project, "a non-profit organization dedicated to recognizing and celebrating the diverse and historic accomplishments of women by providing information as well as educational material and programs." Includes a 5,000-word essay on the history of the women's rights movement and a 7,000-word timeline. The site gives detailed information about the organization's activities, including efforts to bring women's history into public life, a list of curricular ideas for teachers, material concerning National Women's History Month, and a 15-question quiz on Women's History.

Perhaps most valuable, the site furnishes approximately 200 partially annotated links, arranged into 12 broad categories such as "Politics," "World History," and "Math and Science." Though lacking in primary source material, this site provides useful beginning resources for the study and practice of women's history.

North American Women's Letters and Diaries: Colonial Times to 1950

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Logo, North American Women's Letters and Diaries: Colonial Times to 1950
Annotation

This extensive archive offers approximately 150,000 pages of letters and diaries from colonial times to 1950, including 7,000 pages of previously unpublished manuscripts. Highlighted material includes extracts from the Journal of Mrs. Ann Manigault (1754-1781), the Life of Harriet Beecher Stowe, letters of Phyllis Wheatley, letters of Ellen Louisa Tucker to Ralph Waldo Emerson, letters of Margaret Fuller, and the memoirs and letters of Dolley Madison, wife of James Madison.

Search the database by keyword or use the advanced search to find material by such fields as author, race, religion, age, occupation, date of writing, document type, historical event, or subject. More than 80 fields have been indexed. This website is available either through one-time purchase of perpetual rights or through annual subscription (your library or institution may have a subscription). This collection is a useful archive of material for teaching about the history of women as well as for research in women's studies, social history, and cultural history.