New Year’s, and after

Emily Dickinson

One of the most intriguing members of the Woman’s Literary Club of Baltimore was Clara Newman Turner—known in the minutes as “Mrs. Sidney Turner”—who served for several years on the Board of Managers and appears frequently in the minutes as a presenter and commenter on others’ presentation. The sleuthing of Jill Fury, one of my students, revealed that Turner was the cousin of no less than Emily Dickinson–and had in fact grown up with Emily in Amherst after being left an orphan.

Clara Newman Turner
Clara Newman Turner (1844-1920), in The Kennel Club: A History and Record of Its Work (London: Kennel Gazette, 1905).

Clara and Emily apparently remained close for many years. Clara visited Emily and her sister Lavinia in Amherst every year, even after she married Sidney Turner in 1869 and moved to Connecticut. According to Clara’s niece and apparent namesake, Clara Newman Pearl, the famously reclusive Emily actually left her Amherst home to comfort Clara after her husband passed away a decade or so later. Clara Newman Pearl describes the visit thus:

“A slight figure wrapped in an old squirrel-lined circular flew up the steps and into the house. A rusty crepe veil fluttered in the wind as she hurried to my aunt’s side. It was the first time that she had been out of Amherst for twenty years, and she was the center of attraction as long as she stayed. My fifteen year old curiosity made me ask why she did not leave Amherst more often. I remember well her reply. ‘Because, my dear, I do not like to travel. One sees so many people and things that one does not wish to see.’” (Qtd. in Richard B. Sewell, Life of ED, Vol. 2, p. 266)

Some years after Sidney passed away, Clara Newman Turner ended up in Baltimore, first living at the old Altamont Hotel, and then at the Cecil apartments, which are still located at the corner of Eutaw St. and Dolphin Ave. Here, she would have lived near several other WLCB members, including longtime secretary Lydia Crane, who lived just around the corner, and it’s likely that that’s how she became a member of the Club.

Clara was not just a reader of Emily’s poetry. She also wrote poetry herself. Jill discovered the title of a book titled Mail from Nowhere, and after contacting several librarians, we located a single copy in the Houghton Library at Harvard. The Houghton digitized the self-published, privately printed volume, and it’s now available for anyone to read.

Front cover/wrapper of Mail from Nowhere
Front cover/wrapper of Mail from Nowhere (published before 1900?), by Clara Badger Newman Turner (Mrs. Sidney Turner), Houghton Library, Harvard University.

The Houghton digitized the self-published, privately printed volume, and it’s now available for anyone to read.

Clara, as a confidant and correspondent of both Emily and Lavinia Dickinson, almost certainly received the handwritten poems Emily enclosed in fascicles and circulated among family and friends. The title and dedication page of Turner’s book itself evokes the privately circulated fascicles, and it is tempting to think of the poems in this book being written as responses to poems by Emily (and which ones?).

Dedication page of Mail from Nowhere.

The poetry included in Mail from Nowhere, like Dickinson’s poems, tends toward short, balladic verse structures and frequently touches on religious subjects. Unlike Dickinson’s, however, Turner was far more confident in her faith, and also frequently treated domestic subjects including marriage, motherhood, and widowhood, which were almost entirely absent from her cousin’s poems.

While her poetry was far more conventional than her cousin’s, Clara Newman Turner was nevertheless capable of ironic introspection, and her poems frequently express a faint (or sometimes not so faint) disappointment in life and in woman’s lot. The deflating aura of January 2nd– the second-sleepiest day of the year, according to a newly released study from the American Academy of Sleep Medicine, after January 1–prompts me to share two poems from Turner, both included in Mail from Nowhere as well as in our anthology of works by the Woman’s Literary Club of Baltimore, Parole Femine: Words and Lives of the WLCB. Enjoy–and happy new year, or Jan. 2, or … whatever.

The New Year

Thou hast opened thine eyes to a new, strange thing;
Thou hast opened thine ears to hear bells ring
     To the birth–to the birth of a year.
Thou hast opened thine heart with those who pray;
The dear old year is a yesterday;
     A new, strange thing is here.

To-morrows are all bound close together,
With their varied suns, and winds, and weather.
     Can any one–any one know?
We sometimes wish, “If we only knew!”
We only say, “Happy year to you!”
     And pray it may be so.

January the Second

January First promised to protect me.
January First has gone away and left me;
Me–January Second, at the head of all this train!
Indeed you’ll never catch me in such a scrape again!

I can’t live many hours; “I feel it in my bones,”
The sad responsibility of all these other ones
Tugging at my heels as tho’ their lives depended
On their getting right along as soon as mine was ended.

It’s the way with lots of things–They’re sort of in the way
If they claim a single minute beyond their little day.
You’re January Second till the Third comes up apace.
And then you just step down and the next one takes your place.

We all just have to face it, and have our little day,
Without a single question as to any other way.
We’re on the top a little while, and people read us through,
And then we’re gone, and laid aside, the best that we can do.

Hey hey, the class begins!

Faithful subscribers may have noted a sudden flourishing of postings to the Aperio Log. That’s because the spring semester at Loyola has begun—and at long last, so has our class on the Woman’s Literary Club of Baltimore. The course has the auspicious number EN389 and is titled in the online course catalog, “Reading Women, Writing Women, 1890-1920: The Woman’s Literary Club of Baltimore.”

Our class met for the first time last night in the, shall we say, cozy seminar room in Loyola’s English Department. We had a great time discussing some stories from Anne Boyd Rioux’s wonderful anthology Wielding the Pen: Writings on Authorship by American Women of the Nineteenth Century—including Emily Dickinson’s “I’m nobody–who are you?,” Mary Wilkins Freeman’s “The Poetess” (1890) and Constance Fenimore Woolson’s “Miss Grief” (1880), as well as Edith Wharton’s painfully comic story about “Writing a War Story” (1919). The thought-provoking posts from Ellen, Sydney, Katie, Clara, & Hunter posted to plant seeds for our discussion give you a good idea of the range of ideas and responses.

We were also graced by a visit from our volunteer researcher and assiduous transcriber, Cynthia, whom only Clara had met before last night. Cynthia first put the WLCB papers on the radar of archivists and libraries in the 1970s when she was tasked, as a graduate student and fledgling archivist, with finding “hidden collections” of women’s writings in archives across the country. Unfortunately, no one until us had answered her clarion call for over 40 years.

Cynthia had wonderful stories to tell about her work in archives as well as some piquant observations about her recent interactions with the Club as a transcriber. One story she mentioned was about founding member Louisa C. O. Haughton’s horror when she presented the documents to incorporate the Woman’s Literary Club of Baltimore to the notary public, and he mistakenly read the name as the “Woman’s Liberty Club.”

“We are not seeking freedom!” she said (I think I am horribly paraphrasing and will revise this once I am reminded of what she actually said. ETA: see comments for the actual quotation.). The majority of the Club members were ambitious, but sadly, not suffragist revolutionaries.

For those of you following our activities, I have posted the course overview and syllabus to this blog (under the “About” tab). Also, check out the WLCB Archive, which Clara and I developed last semester with much appreciated assistance from folks at the Loyola/Notre Dame Library. Over the next few weeks, you’ll be introduced to the dozen or so new members of the project– new students to the EN389 course at Loyola, and a new group of 8 seniors at Friends who will be transcribing the minutes detailing the activities of the Club during World War I.

To close this post with the epigraph which began our class last night, Emily Dickinson encapsulated many of the ideas of women’s ambivalent desire to reach an audience in print, as well as women writers’ need to establish a supportive audience among one another, in the following poem. It’s emblematic, in many ways, of this group of Baltimore women who sought recognition as writers and intellects but were feared the glare of public exposure.

I’m Nobody! Who are you?
Are you – Nobody – too?
Then there’s a pair of us!
Don’t tell! they’d advertise – you know!

How dreary – to be – Somebody!
How public – like a Frog –
To tell one’s name – the livelong June –
To an admiring Bog!