Article #377-2 | Gutenberg Articles

Excerpt

Excerpt from Kansas Women in Literature, by Nettie Garmer Barker

Lois Oldham Henrici, a one-time Sabetha and Parsons woman, is the author
of "Representative Women" and many good short stories.

Laura D. Congdon, a Newton pioneer, is a verse and short story writer.
Mary H. Finn, Sedgwick, writes beautiful verse and much prose. Jennie C.
Graves, Pittsburg, writes poetry and moving picture plays. Mrs. Johannas
Bennett, another Pittsburg woman, has written an historical novel, "La
Belle San Antone." Florence L. Snow, Neosho Falls, is an artistic and
finished writer of verse and prose. She is the author of "The Lamp of
Gold." Sharlot M. Hall, Lincoln, writes prose and verse. A volume
of poems, "Cactus And Pine," "History of Arizona," "A Woman of the
Frontier," "The Price of The Star" and short stories are her important
works. Mrs. A. S. McMillan, Lyons, a poetess, song writer and licensed
preacher, writes clever verse, much of which has been set to music.
"Land Where Dreams Come True" is her best known poem. Kittie Skidmore
Cowen, a former Columbus woman, is author of "An Unconditional
Surrender," a civil war story. "The Message of Hagar," a study of
the Mormon question will be in the press soon. Miss Mary E. Upshaw,
McPherson, wrote verse at the age of seven and published her first story
at fifteen. She has a book in preparation which she expects to publish
at an early date. Jeanette Scott Benton, formerly of Fort Scott, writes
short stories novelettes, and stories for children. May Belleville Brown
of Salina, has a very clever pen, as has, also Mrs. Lulu R. Fuhr of
Meade, the author of "Tenderfoot Tales." Mrs. E. M. Adams, Mound City,
writes exquisite verse and in the past, had many short stories to her
credit. Mrs. C. W. Smith, Stockton, writes both prose and verse. Cara
A. Thomas Hoover, formerly of Halstead, Harvey County, now living in
Rialto, California, writes prose and beautiful verse. Rose Hartwick
Thorpe, the author of "Curfew Shall Not Ring To-night," was a Kansan in
the early sixties. She lived at Wilmington.

Miss Margaret Stevenson, Olathe, is a writer of books for the blind. She
has some short stories, nature and text-books published.

Explanation

**Detailed Explanation of the Excerpt from Kansas Women in Literature by Nettie Garmer Barker**

Context of the Source

Nettie Garmer Barker’s Kansas Women in Literature (1918) is a historical and biographical compilation highlighting the literary contributions of women from Kansas during the late 19th and early 20th centuries. At the time, women’s writing was often overlooked in mainstream literary circles, and Barker’s work serves as both a celebration and a record of their achievements. The excerpt functions as a catalog of women writers, offering brief but informative snapshots of their lives, genres, and notable works.

The text reflects the progressive spirit of the early 20th century, when women were increasingly asserting themselves in public intellectual and creative spheres. Many of these writers were pioneers—both in the literal sense (settling in Kansas) and in the literary sense (breaking into publishing at a time when women’s voices were marginalized).

Themes in the Excerpt

Women’s Literary Agency & Professional Identity
- The passage emphasizes that these women were prolific, versatile, and professionally active in multiple genres (poetry, prose, historical fiction, children’s stories, religious writing, and even screenplays).
- Many are identified by their married names (e.g., Mrs. Johannas Bennett, Mrs. A. S. McMillan), reflecting the social norms of the time, but Barker still centers their literary achievements rather than their domestic roles.
- Some, like Sharlot M. Hall and Rose Hartwick Thorpe, are noted for major works that gained national recognition, suggesting that Kansas was a hub for talented women writers.
Regional Pride & Kansas as a Literary Landscape
- The text ties each woman to a specific Kansas town (Sabetha, Newton, Sedgwick, Pittsburg, etc.), reinforcing a sense of local literary heritage.
- Kansas, often seen as a frontier state, is portrayed here as a cultural and intellectual center, producing writers who contributed to national literature.
- The inclusion of pioneer women (like Laura D. Congdon) suggests that literary talent emerged even in the harsh conditions of settlement.
Diversity of Genres & Audience Appeal
- The women wrote in a wide range of forms, including:
  - Poetry (Mary H. Finn, Florence L. Snow, Rose Hartwick Thorpe)
  - Historical fiction (Johannas Bennett’s La Belle San Antone, Kittie Skidmore Cowen’s Civil War story)
  - Religious & moral writing (Mrs. A. S. McMillan’s sermons and hymns)
  - Children’s literature (Jeanette Scott Benton)
  - Western & frontier themes (Sharlot M. Hall’s Cactus and Pine)
  - Screenplays (Jennie C. Graves’ "moving picture plays")
- This diversity shows that women were not confined to "feminine" genres (like sentimental poetry) but engaged with historical, political, and commercial writing.
Youth & Precocious Talent
- Mary E. Upshaw is highlighted for writing verse at seven and publishing at fifteen, suggesting that young women were also part of this literary movement.
- This reinforces the idea that literary talent was nurtured early in Kansas communities.
Women’s Roles Beyond Writing
- Some women, like Mrs. A. S. McMillan, were preachers and songwriters, blending religious and literary callings.
- Margaret Stevenson wrote books for the blind, indicating a socially conscious dimension to women’s writing.

Literary Devices & Stylistic Choices

Catalogue/Listing Structure
- The excerpt is structured as a series of brief biographical entries, a common feature in reference works and anthologies.
- This accumulation of names and achievements creates a sense of abundance, reinforcing the idea that Kansas had a thriving female literary culture.
Economical yet Evocative Language
- Barker uses concise, descriptive phrases to characterize each writer:
  - "writes beautiful verse" (Mary H. Finn)
  - "a very clever pen" (May Belleville Brown)
  - "exquisite verse" (Mrs. E. M. Adams)
- Words like "beautiful," "artistic," "clever," and "exquisite" elevate the women’s work, countering any assumption that their writing was amateurish.
Geographical Anchoring
- Each woman is linked to a Kansas town, which:
  - Grounds their work in a specific place, reinforcing regional identity.
  - Creates a mental map of Kansas as a literary state.
  - Honors small towns (Neosho Falls, Meade, Mound City) as cultural centers.
Juxtaposition of Established and Emerging Voices
- Some women (like Rose Hartwick Thorpe) were already famous (her poem "Curfew Shall Not Ring To-night" was widely anthologized).
- Others (like Mary E. Upshaw) were young and upcoming, suggesting a continuing tradition.
Implied Feminist Undertone
- While not overtly political, the text challenges gender norms by:
  - Listing women’s professional accomplishments without reference to their husbands’ careers.
  - Including a licensed female preacher (Mrs. A. S. McMillan), a rare role for women at the time.
  - Highlighting commercial success (e.g., Jennie C. Graves writing for moving pictures, a new and lucrative medium).

Significance of the Excerpt

Historical Record of Women’s Contributions
- Barker’s work preserves the names and works of women who might otherwise have been forgotten.
- It counteracts the male-dominated literary canon of the time by centering women’s voices.
Regional Literary History
- The text positions Kansas as a cultural force, not just a frontier state.
- It challenges stereotypes of the Midwest as culturally barren by showcasing its rich literary tradition.
Inspiration for Future Generations
- By documenting young writers (like Mary E. Upshaw) and established ones (like Sharlot M. Hall), Barker suggests that literary talent in Kansas was generational.
- The inclusion of diverse genres (from hymns to screenplays) shows that women’s writing was not limited to domestic themes.
Connection to Broader Women’s Movements
- Published in 1918, the same year women gained limited suffrage in some states (full suffrage came in 1920), the text reflects the growing visibility of women in public life.
- The fact that these women were published, preachers, and professionals aligns with the New Woman ideal of the early 20th century—independent, educated, and creative.

Key Takeaways from the Text Itself

The excerpt is not just a dry list but a celebration of women’s intellectual and artistic labor.
The repetition of towns and genres creates a rhythm that reinforces the collective strength of these writers.
The brevity of each entry suggests that Barker assumed her readers would recognize some names (like Rose Hartwick Thorpe) while discovering others.
The text implicitly argues that Kansas was a place where women’s voices mattered, both locally and nationally.

Conclusion

Nettie Garmer Barker’s excerpt from Kansas Women in Literature is more than a simple directory—it is a tribute to the intellectual and creative vitality of Kansas women in an era when their contributions were often overlooked. Through precise language, geographical anchoring, and a diverse range of genres, Barker constructs a literary legacy that challenges both regional stereotypes and gendered assumptions about writing. The passage stands as a testament to the power of women’s voices in shaping American literature, even from the so-called "heartland."

Questions

Question 1

The passage’s cataloging of Kansas women writers serves a function beyond mere documentation. The most plausible unspoken argument it advances is that:

A. the literary achievements of women in peripheral regions can rival those of established cultural centers, implicitly challenging geographic hierarchies in American letters.
B. women’s writing in the early 20th century was largely confined to domestic or sentimental themes, as evidenced by the predominance of poetry and children’s stories.
C. Kansas’s literary output was uniquely feminist in its rejection of traditional gender roles, given the inclusion of a licensed female preacher and a screenwriter.
D. the brevity of the entries reflects a deliberate aesthetic choice to mimic the concise, modernist styles emerging in contemporary poetry.
E. the passage’s focus on married names (e.g., “Mrs. Johannas Bennett”) underscores the inescapable subordination of women’s identities to their husbands’ social standing.

Question 2

The phrase "a very clever pen" (applied to May Belleville Brown and Lulu R. Fuhr) carries a tonal nuance that is best described as:

A. ironic, subtly undermining the seriousness of their work by framing it as merely "clever" rather than profound.
B. condescending, reflecting the era’s tendency to praise women’s writing as charming but not intellectually rigorous.
C. admiring yet measured, using understatement to convey genuine respect while avoiding the hyperbole often applied to male writers.
D. ambiguous, leaving unclear whether the praise is sincere or a backhanded compliment typical of the time.
E. technically precise, emphasizing their skill in prose mechanics rather than creative originality.

Question 3

Which of the following structural choices in the passage most effectively reinforces the idea that Kansas was a cultural hub rather than a literary backwater?

A. The alphabetical ordering of the writers, which implies a systematic, almost scientific approach to documenting their contributions.
B. The repetition of town names (e.g., Pittsburg, Newton, Salina), which creates a dense geographical network suggesting widespread artistic activity.
C. The inclusion of both published authors and those with works "in preparation," which demonstrates a thriving but still-developing literary scene.
D. The juxtaposition of widely recognized figures (like Rose Hartwick Thorpe) with lesser-known local writers, which elevates the collective prestige of the group.
E. The use of occupational labels (e.g., "poetess," "short story writer"), which professionalizes the women and distances them from amateur status.

Question 4

The passage’s treatment of Mary E. Upshaw (who wrote verse at seven and published at fifteen) serves primarily to:

A. highlight the precocity of individual talent as an exception to the rule, thereby emphasizing the rarity of such achievement among Kansas women.
B. suggest that literary culture in Kansas was nurturing enough to cultivate young writers, implying a community that valued intellectual development.
C. contrast her youthful productivity with the more mature, established careers of older writers like Sharlot M. Hall.
D. undermine the seriousness of the other writers by positioning a child’s work as comparable to theirs.
E. reinforce the idea that women’s writing was often dismissed as juvenile or unsophisticated, even when produced by adults.

Question 5

If the passage were excerpted in a 1920s feminist anthology, which of the following editorial framings would be least consistent with its implicit themes?

A. "A testament to how regional literary movements empowered women to claim public intellectual roles."
B. "An illustration of how women’s writing, though diverse in form, was ultimately constrained by the domestic expectations of the era."
C. "Evidence that the American Midwest, often overlooked, fostered a vibrant community of women writers across genres."
D. "A challenge to the East Coast literary establishment’s monopoly on cultural legitimacy."
E. "A snapshot of how women’s literary labor—from hymns to screenplays—shaped both local and national culture."

Solutions and Explanations

1) Correct answer: A

Why A is most correct: The passage’s geographical specificity (tying each writer to a Kansas town) and diverse genres (historical novels, screenplays, religious works) implicitly argue that peripheral regions could produce literature rivaling coastal centers. This challenges the hierarchy of American letters, where New York and Boston dominated cultural prestige. The catalog format itself—accumulating names and towns—creates a collective weight that counters the idea of Kansas as a cultural void.