In among the historical fiction, in that respect argon the historical facts. How can the reader identify what those argon, merely? Did, for example, Mr. Taylor actually teach Margaret Fuller her music lessons and did Margaret play for the sight in Boston? Was that the accurate part of the description of the medical prognosis? What of the thoughts attributed to both(prenominal) characters in that scene? What is the evidence that the characters held those opinions? (Stern 6).
There are rattling intriguing and specific details included in each scene, such as the horizontal surface round peeress Betty the schoolteacher who chewed tobacco (Stern 8), but it is impossible to intend if they are facts, or simply details do up in order to serve the purposes of the narrative. While Stern could know about Ma'am Betty from other sources, she likely could not know that Eugene was mentation at that real time that he wished he were a year younger (Stern 8). There are numerous instances in which Stern describes the thoughts and feelings of other characters involved in Margaret's life, as salutary as Margaret's herself, that seem unlikely to have been written reduce and available as primary sources.
It is thus difficult to determine how should one read a book like this. It is very interesting and the narrative style of the book might make it more access
It besides includes her teaching. The nearly important part of this was not the Temple School, really, but her conversations, which she began in Boston, and which influenced many of the women of her acquaintance. These, along with her publication of Woman in the nineteenth Century, are probably the aspects of her life that kept her a reduce of the women's movements of this century.
Stern seems very comfortable with her subject matter. The reader gets the slump of an author who has immersed herself in the material about Margaret Fuller's life. Because of all the details, the reader believes that nothing has been left out that is of any importance.
It sounds as though Stern had access to everything that was needed to create a have it off portrait of Fuller. With the preface, the reader learns about Stern's process and recognizes that she was aware of both the primary sources and the other scholarly work available to her in completing her own book about Margaret Fuller.
Stern tells the story of Margaret Fuller in a straightforward, chronological form. She begins at the bloodline and proceeds through to the end, literally stopping with Margaret's death by drowning. That is told quite outstandingally, leaving the reader with a chill, but also wanting more. Stern does not extend her technique of deliverance the character's thoughts to the reader past the point where Margaret was swept off the boat, which is a very good decision on her part. That would have made the story both less credible and less dramatic than it was. What we are left with is what we assume were Margaret's last words a foretelling of her death and the last view that any merciful being had of her. This is dramatic enough in itself.
Stern's technique is very different. Although there are a number of important personages in this book, including the Transcendentalist circle, the emphasis is on the details of everyday life. It is very often a relational book, showing Margaret in the context
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