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Miki Pfeffer - Southern Ladies and Suffragists: Julia Ward Howe and Womens Rights at the 1884 New Orleans Worlds Fair

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Women from all over the country came to New Orleans in 1884 for the Womans Department of the Cotton Centennial Exposition, that portion of the Worlds Fair exhibition devoted to the celebration of womens affairs and industry. Their conversations and interactions played out as a drama of personalities and sectionalism at a transitional moment in the history of the nation. These women planted seeds at the Exposition that would have otherwise taken decades to drift southward.
This book chronicles the successes and setbacks of a lively cast of postbellum women in the first Womans Department at a worlds fair in the Deep South. From a wide range of primary documents, Miki Pfeffer recreates the sounds and sights of 1884 New Orleans after Civil War and Reconstruction. She focuses on how difficult unity was to achieve, even when diverse women professed a common goal. Such celebrities as Julia Ward Howe and Susan B. Anthony brought national debates on womens issues to the South for the first time, and journalists and ordinary women reacted. At the Worlds Industrial and Cotton Centennial Exposition, the Womans Department became a petri dish where cultures clashed but where women from across the country exchanged views on propriety, jobs, education, and suffrage. Pfeffer memorializes womens exhibits of handwork, literary and scientific endeavors, inventions, and professions, but she proposes that the real impact of the six-month-long event was a shift in womens self-conceptions of their public and political lives. For those New Orleans ladies who were ready to seize the opportunity of this uncommon forum, the Womans Department offered a future that they had barely imagined.

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Southern Ladies and Suffragists
Southern Ladies and Suffragists
Southern Ladies and Suffragists Julia Ward Howe and Womens Rights at the 1884 New Orleans Worlds Fair - image 1
Julia Ward Howe and Womens Rights at the 1884 New Orleans Worlds Fair
MIKI PFEFFER
University Press of Mississippi / Jackson
www. upress.state.ms.us
The University Press of Mississippi is a member of the Association of American University Presses.
Copyright 2014 by University Press of Mississippi
All rights reserved
Manufactured in the United States of America
First printing 2014
Library of Congress Cataloging-in-Publication Data
Pfeffer, Miki.
Southern ladies and suffragists : Julia Ward Howe and womens rights at the 1884 New Orleans Worlds Fair / Miki Pfeffer.
pages cm
Includes bibliographical references and index.
ISBN 978-1-62846-134-3 (cloth : alk. paper) ISBN 978-1-62846-135-0 (ebook) 1. Womens rightsSouthern StatesHistory. 2. SuffragistsSouthern StatesHistory. 3. Howe, Julia Ward, 18191910. 4. Worlds Industrial and Cotton Centennial Exposition (18841885 : New Orleans, La.) I. Title.
HQ1236.5.U6P45 2014
305.420975dc232014014211
British Library Cataloging-in-Publication Data available
For my late parents, who would have been proud,
and my daughter Gretchen, who is a strong-minded woman
Contents
Acknowledgments
Dr. Madelon Powers was the alpha and omega of this project. Despite all the academic demands put on her as head of the History Department at the University of New Orleans, she has been my mentor and friend, consistently offering good cheer and wise tips. I also thank Anne Boyd Rioux, Martha Ward, and Connie Atkinson, who offered advice along the way. This force of these smart women freed me to tell the story of the remarkable characters herein.
No research is accomplished without the assistance of informed librarians and archivists. I especially want to thank Wilbur E. Bill Meneray, retired assistant dean of Tulane Universitys Special Collections, who set me on this path by putting Julia Ward Howes Report and Catalogue in my hands. Susan Tucker, curator at Newcomb College Center for Research on Women, introduced me to journalist Catharine Coles papers and encouraged me throughout. I thank the savvy conductors at the Williams Research Center of The Historic New Orleans Collection, who guided me through obscure photographs and standing files and who made special efforts on my behalf: senior curator John Magill, curator Daniel Hammer, reference assistants Robert Ticknor, Jennifer Navarre, Sally Stassi, and the entire knowledgeable staff. Thanks also to archivist Anne Case at the Tulane Special Collections for painstaking searches, to executive director Mamie Sterkx Gasperecz at Hermann-Grima/Gallier Houses for sharing an invaluable connection, and to curator Anke Tonn at Nicholls State University for being my link to wonderful interlibrary loans.
Farther afield, I thank the willing guides at Harvard and Brown Universities, at Radcliffe College, and at the New York and Boston Public Libraries for steering me through those unfamiliar territories. I am indebted to Nancy Whipple Grinnell for her hospitality in Newport, Rhode Island, and for making sure I had access to Maud Howes papers and other Howe family archives. Collector Kenneth Speth has been unsparingly generous in sharing his historical photographs of worlds fairs. I am grateful to Kate Stickley and Toni Bacon, descendants of Julia Ward Howe and Martha Field/Catharine Cole respectively, for supporting the way I portrayed their foremothers. Kates kindnesses and friendship continue to enhance this work and my life.
Naturally, no book is worth its pages without able editors. I am grateful to editor-in-chief Craig Gill and editorial assistant Katie Keene at the University Press of Mississippi for directing my path through the process, to Norman Ware for exquisite copyediting, and to the peer readers for their constructive suggestions. Of course, any failings or ambiguities in these pages are my own,
To friends and scholars who encouraged me, thank you all, especially Elaine Showalter, Raphael Cassimere, Beth Willinger, Patricia Brady, Cristina Vella, Kate Adams, Chris Wiltz, and Susan Larson. And to my husband, Ron Rowland, for enduring years of my absorption in the ideas and actions of nineteenth-century women.
Preface
March 3, 1885. What have women ever invented? tiny Julia Ward Howe osked in her broad a Boston accent. Then she answered the impertinent question by gesturing to scores of objects that proved women could indeed contribute to industry. Howe also pointed to scientific specimens, silk-culture processes, published works, and other evidence. Truth be told, these exalted examples of womens productivity had to vie for attention with rather amateurish needlework and curiosities. Surrounding the gathered audience were display cases and boudoir-curtained booths that fairly teemed with incompatible items. A dainty pincushion sat near a sturdy iron chain from a female blacksmith; a glut of crazy quilts hung near a collapsible summer house from a Chicago womans design. Despite the incongruous mix, these were the best examples of womans work that representatives from all participating states could collect on short notice.
At three oclock that Tuesday afternoon in New Orleans, Julia Ward Howe was formally opening the Womans Department at the Worlds Industrial and Cotton Centennial Exposition. As the departments president, Howe stood behind a flower-bedecked podium on a small platform, her manner dignified and full of grit. With sparkling dark eyes, a strong but rather florid face, and a lace cap perched on her silken white hair, she was very like old Queen Victoria. In fact, she was of an age that one feared when saying au revoir to her, it might well be adieu. Or so a local journalist had written. For now, however, in a voice small but sweet, Howe pronounced: The world remains very imperfectly educated concerning its women. Although womans hand and brain was everywhere in the great industrial exhibits at this Worlds Fair, those efforts were lost when incorporated with the work of men. This separate department, if it achieved its aims, might correct misconceptions about womans role in the marketplace. So Julia Ward Howe, the little lady from the North, ignored womens recent nattering and optimistically named that March day a smile in the crown of many weeks of harmonious labor. It was true that harmony had been elusive, but at least the opening of the Womans Department commenced with the glow of a society fte.
Exhibitors brought what they thought was validation of womens achievements in the public sphere as well as in the home. And already, as designated Lady Commissioners worked on displays, the department had become a place to exchange convictions, tactics, and dreams. For the first time in the South, the broadest spectrum of the nations women were coming together to have a big say. In a country still divided after war and reconstruction, this was a fragile opportunity for reconciliation, and women in the know realized that they were experiencing a defining moment. Ambitious women surely glimpsed the possibility of a different future. This Womans Department at a worlds fair in late-nineteenth-century New Orleans should have been one for the history books; it was not. To miss it entirely, however, is to lose a significant marker in womens striving toward recognition, independence, and influence.
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