Readers often have a great curiosity about the authors who write the books they love, especially the novelists. And in fact sometimes the life of the author lives on long after
Constance Fenimore Woolson
the novels cease to be read except by scholars. That’s what seems to have happened to Constance Fenimore Woolson, one of the most successful American authors of the 19th century.
Back in the days when I studied American literature, Woolson was considered a female regional writer—not at all important when compared with the great writers like Twain,
Melville, Howells, and James. One professor of mine commented that she was “the spinster woman who killed herself because she was in love with Henry James”. Years before that she had been ignored when Howells and James set up their canon of important American writers. They included only male writers because they didn’t think women were capable of great writing, or even rational thought.
In recent years, of course, attention has shifted to women writers and several are now studied in college literature classes. Constance Woolson is seldom included, but her books are available in libraries and bookstores and there have been new biographies and a novel written about her life. A lot of the interest in her has developed because of her relationship with Henry James, which is a shame because her life and work are worth reading on their own.
Perhaps the most important thing to remember about Woolson’s life is how seriously she took her writing despite the lack of encouragement from “serious” critics. She devoted time and attention to her novels. When she was living in Venice in 1893, she wrote of her daily schedule: “I am now called at 4:30 every morning, and then, after a cup of tea, I sit (in a dressing gown) and write until 9:30, when I have breakfast. This is to get the cool hours for work. Then I dress and go on writing until 4 p.m., when I go to the Lido and take a sea-bath.” This is not a woman who rushed out her books in order to maximize sales.
19th century Venice
Woolson started publishing in 1870, first magazine stories and then novels. She was a success from the beginning and was able to support her mother as well as help her brother and sister. After her mother died in 1879, Woolson traveled to Europe in order to meet Henry James, a writer whose work she admired. She did meet him, in part because he was impressed that she was a relative of James Fenimore Cooper, and their relationship continued for the rest of her life. It is this relationship that has fascinated both critics and general readers through the years.
During the past year I have read two books about Woolson and enjoyed both of them thoroughly. One is a biography by Anne Boyd Rioux, Constance Fenimore Woolson; Portrait of a Lady Novelist, which gives a full account of her life and travels. She did not have an easy life because her hearing began to fade while she was still a young woman. Her deafness was a barrier that kept her from enjoying the music she loved and from easy exchanges with friends and colleagues. She sometimes said that she valued Henry James because she would never run out of things to talk about with him. Conversation was important to her, although not as important as her writing. James envied her success in writing and continued to patronize her because he recognized—they both recognized—that he was a greater artist.
The second book I read about Woolson this year is Elizabeth Maguire’s novel, Open Door, based on Woolson’s years in Europe and her relationship with Henry James. The author invents many details of Woolson’s life, some more convincing than others, and readers
may quarrel about whether she successfully portrayed the connection with Henry James and whether Woolson did indeed know about his carefully closeted homosexual life.
Woolson’s death, after a jump or fall into a canal in Venice, is still a subject of speculation. Could it have been just a fall? Was it suicide? Was it caused by chronic depression or perhaps by the intense pain caused by her deafness and brain cancer? There will probably never be a definitive answer.
So where is truth? Is it in a fully-documented biography or in an imaginative novel? My answer would be that it is in both. We need a solid biography like the one Rioux has given us so we can understand Woolson’s background and life and better appreciate her work. But there is also truth in trying to imagine what Woolson’s life must have felt like from the inside. I think we all try to do that instinctively when we read biographies. Maguire gave us intriguing speculation about what it might have felt like being Constance Woolson. Both books deserve to be read.