By Deborah C. De Rosa
Explores why ladies abolitionists became to kid's literature to make their case opposed to slavery.
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Additional info for Domestic Abolitionism and Juvenile Literature, 1830-1865
Chandler apparently followed the rules of decorum throughout her literary career. As a child she wrote poetry, some of which her friends and relatives published when Chandler was twelve. By age sixteen, Chandler’s articles had appeared in newspapers (Bowerman 613), but Benjamin Lundy reports, “such was her retiring modesty, and native diffidence, that she did not, for a considerable length of time, permit her name to be used publicly, as an author” (10). Despite her modesty, Chandler felt insulted when her first antislavery poem, “The Slave Ship,” originally won only third place in the Casket,15 a popular, Philadelphia monthly magazine.
Whittmore (stationer) and Nichols and Hall (publishers) stereotyped this work at the Boston Stereotype Foundry as a little volume entitled May Morning and New Year’s Eve and issued it in 1857, 1858, 1866, and 1868. Her frequent appearance in print suggests that publishers considered Follen an important and marketable children’s author. Furthermore, by reprinting and reissuing her works from 1830 until after her death, publishers also promoted her abolitionist voice in this “safe,” public forum.
McKim. According to William Cohen’s “James Miller McKim: Pennsylvania Abolitionist,” McKim renounced his role as a Presbyterian minister to join the abolitionist movement and ultimately to serve as an AASS agent in Philadelphia (167–68). He lectured for the Pennsylvania AntiSlavery Society (PASS) and as “corresponding editor,” he published descriptions 24 Domestic Abolitionism and Juvenile Literature 1830–1865 of these traveling lectures in Lundy’s National Enquirer (181). But he may have stopped doing so when by 1845 he decided to support Garrison fully (219).