Lydia Maria Child—A Lifelong Fighter for Justice

When Europeans arrived in North America during the 1600s, many of them were surprised to find that people were already living in this “new land”. Nonetheless, the Europeans believed they had the right to take over the continent. Several centuries later, Americans are still struggling to undo long established injustices. After President Biden was elected in 2000, he appointed the first person of Native American ancestry to his Cabinet as Secretary of the Interior—Deb Haaland. The rights of Indian tribes have been recognized as an important value. But it took many arguments over hundreds of years to start ensuring justice for Native Americans. 

One of the earliest and most persistent fighters for fair treatment of Native Americans was the novelist and activist Lydia Maria Child. During her long life she fought for social equality for all races and sexes while at the same time carrying on her career as one of the most popular writers of the 19th century. Unlike many of the more famous suffragists, she was not willing to place the importance of women’s rights above the importance of justice for enslaved people and Native Americans.

Lydia Maria Child

Child was born in Massachusetts in 1802 into a family of strict Calvinists. As a girl, she did not receive much formal education, but her brother, Convers Francis, shared his books with her and encouraged her studies. After her mother’s death, Child lived for a time with her brother’s family and was introduced to many of his friends from Harvard. With his encouragement she wrote her first novel, Hobomok: a tale of Early Times, in 1824 and its success started her on a lifelong career as a writer.

Hobomok was widely acclaimed and brought a level of fame to the young author. She was even given a free ticket to use the Boston Atheneum, a valuable library from which women were usually barred. But Child was not content to support only popular causes. Ten years later, when she published an abolitionist pamphlet, “Appeal in Favor of that Class of Americans called Africans” the ticket to the Atheneum was snatched away from her and her books were removed from the library. Despite this rejection, Child continued to support the three causes that were most important to her—Indian rights, Abolition, and Women’s Suffrage. Throughout her life, she never wavered in her loyalty to her causes.

After her marriage in 1828, Child continued to write, and her works were popular. Her practical domestic guide, The American Frugal Housewife, was one of the most successful books of the 19th century. Her husband, David Child, was an activist and public speaker, but he was never able to support himself and his wife. He developed many commercial ideas and borrowed money to carry out projects that rarely succeeded. His wife was responsible for earning enough money to support the couple, but she was not allowed to make decisions about spending it. Her husband could invest her money in any way he wished. Even when she wrote her will, she found that she was forbidden to distribute her money or the property her father had left her unless her husband signed the will. This must have made her more aware than many other women of the need for women’s rights to include the right to own property as well as to vote. Nonetheless, despite some short-lived separations, the couple continued to maintain their marriage.  

Lydia Maria Child lived until 1880 and during all those years of life she continued her tireless support of the important social reforms of the time. It seems ironic that such a tough, committed fighter should be remembered, if she remembered at all, by a sentimental children’s poem she wrote. It is the traditional Thanksgiving poem “Over the river and through the trees, to Grandmother’s House we go…”

To learn more about this tireless fighter for human rights, you can read the excellent biography The First Woman in the Republic by Caroline Karcher (1994).

Julia Ward Howe and her Ever-Changing Battle Hymn

Last weekend’s Fourth of July celebrations included many musical tributes to the United States and its history. One of the most familiar of these is the “Battle Hymn of the Republic”, a popular and honored patriotic song, but one that has had a long and contentious history. Most Americans will recognize these lyrics:

Mine eyes have seen the glory of the coming of the Lord
He is trampling out the vintage where the grapes of wrath are stored
He has loosed the fateful lightening of his terrible swift sword
His truth is marching on

Glory, Glory halleluhja
Glory, Glory halleluhja
Glory, Glory halleluhja
His truth is marching on

The author of these lyrics, the version that we usually hear at concerts, in schools and other public occasions, was Julia Ward Howe, one of the most notable poets of the 19th century. She was also an activist for the abolition of slavery and for women’s rights. Her inspiration to write these verses came during a visit to Washington DC in 1861, at the beginning of the Civil War. From her hotel window she heard Union soldiers singing a popular wartime song:

John Brown’s body lies a-moldering in the grave
John Brown’s body lies a-moldering in the grave
John Brown’s body lies a-moldering in the grave
But his soul goes marching on
.

John Brown, of course, was the insurrectionist who had attacked federal property at Harper’s Ferry in 1859 hoping to lead a revolution that would end slavery. He failed in his mission and was executed, but he remained a hero to abolitionists and to Union soldiers during the Civil War. Julia Ward Howe wrote her new lyrics to make the song a more unifying and uplifting tribute to justice and freedom for the entire country to sing. Her version appeared in the Atlantic magazine and made her famous.  

Howe’s lyrics for the song are the ones are still the most famous ones, but her version is only one of many variations. In 1915, half a century after the Civil War had ended, and five years after Julia Ward Howe’s death, a different set of lyrics were written for the familiar tune by Ralph Chaplin, a labor activist.  His song was composed for the Industrial Workers of the World (IWW), also known as the Wobblies. It soon became an anthem for a number of labor unions under the title “Solidarity Forever”.

It is we who plowed the prairies; built the cities where they trade;
Dug the mines and built the workshops, endless miles of railroad laid;
Now we stand outcast and starving midst the wonders we have made;
But the union makes us strong.

Solidarity forever,
Solidarity forever,
Solidarity forever,
For the union makes us strong.

We don’t know what Julia Howe thought of radical labor unions like the IWW, but she probably would have enjoyed knowing that the tune she made famous has indeed gone marching on.

AN UNUSUAL OPPORTUNITY FOR YOU THIS MONTH:

One of the women who inspired Julia Ward Howe in her career was Margaret Fuller, the most famous female journalist and author in early 19th century America. The ebook version of my biography Margaret Fuller an Uncommon Woman is now on a special summer sale at Smashwords.com. The price is right—it is free! Just click on the website and order your copy. The sale ends on July 31. (If you prefer a print version of the book, you can find it at Amazon.com)