{"title":"那是怎样的女人安-迈尔斯的《献给玛丽-戴尔的诗》(评论)","authors":"Rebecca M. Rosen","doi":"10.1353/eal.2024.a918929","DOIUrl":null,"url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\n<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>What Woman That Was: Poems for Mary Dyer</em> by Ann Myles <!-- /html_title --></li> <li> Rebecca M. Rosen (bio) </li> </ul> <em>What Woman That Was: Poems for Mary Dyer</em><br/> <small>ann Myles</small><br/> Final Thursday Press, 2022<br/> 60 pp. <p>Most readers of <em>Early American Literature</em> have encountered Mary Barrett Dyer, a follower of Anne Hutchinson, in the records of the Antinomian Controversy of 1636–38 sparked by Hutchinson's preaching. Hutchinson's ministerial trials—capped off by the discovery and exhumation of Dyer's non-normative stillbirth, delivered by Hutchinson in her work as a midwife, and buried on the advice of John Cotton—cemented popular conceptions of both women as vessels of unauthorized and unorthodox speech, rendering Dyer, \"the woman who had the Monster,\" physical proof of spiritual error's toll on the human form (John Winthrop, <em>Short Story of the Rise, Reign, and Ruin of the Antinomians, Familists, and</em> <strong>[End Page 227]</strong> <em>Libertines</em> [Ralph Smith, 1644]). Scholars of early American and Quaker studies will also recognize Mary Dyer as one of the four members of the Society of Friends executed in Boston from 1660 to 1661, eulogized afterward as martyrs. Though a highly visible presence in both those conflicts, Dyer's own story has never been easy to trace.</p> <p>Now, in her poetry collection <em>What Woman That Was</em>, Anne Myles gives us the chance not only to encounter Dyer, but also to know her. She gives voice to Dyer, using both her recorded words (from two letters to the Massachusetts General Court) and the imagined encounters she could have had with the texts, figures, and movements of her many times and places. These include the well-documented trials involving not only the accused antinomian Hutchinson, alongside whom she was banished from Massachusetts, but also the trials of fellow executed Quakers William Robinson, Marmaduke Stephenson, and William Leddra, as well as several epochs of nonconformist settler colonial conflicts across the Atlantic world. These poems allow us to see Dyer fully, setting caricature and sensational reportage aside (though Myles has illustrated that dichotomy for us before, in \"From Monster to Martyr: Re-presenting Mary Dyer,\" her 2001 article in this journal (vol. 36, no. 1, pp. 1–30). Verse allows Myles to recast Dyer as a radical ancestor, achingly present to many who wish to be heard and seen. As \"The Prologue: May-shine\" suggests, these poems attempt to retrieve \"the book of lost words,\" squaring Dyer's centrality to two major nonconformist power struggles with the glaring absence of her own testimony from the records that cover all but the last months of her life (9).</p> <p>Dyer, as ventriloquized and met in conversation by Myles, is not a mute victim or zealot. Instead, she is a mystic, ecstatic in her conviction, even as her husband's settler colonial ambitions, land hunger, and desire for domestic normativity both reinforce and interfere with her religious evolution. In doing so, Myles lyrically resolves the two great ruptures in early American gender, religious, and legal history that Dyer marks with her presence to demonstrate how she became a key player in each. Myles expertly showcases Dyer's position at each point in this timeline, pulling out the threads of her nonconformist spiritual self-realization. Woven together, they portray a steady trajectory of radical activism, prophetic clarity, self-possession, and unwavering self-direction.</p> <p>Teaching Myles's collection within any number of variations of the early American survey would be intuitive. It is a natural pairing with the documents of David D. Hall's <em>Antinomian Controversy</em> (Duke UP, 1990) and <strong>[End Page 228]</strong> alongside any seminar on women's writings or protest movements of the early Americas. The title poem, \"What Woman That Was,\" interpolates the text of Winthrop's <em>Short Story</em> with Dyer's reconstructed objections, using erasure of the once-dominant propaganda pamphlet to construct a counternarrative stream of consciousness, conveying an insistent recounting by other witnesses whose voices we've lost: \"the woman who at that moment knew or didn't know what she'd given birth to why her midwives had buried it in the dead of night who had fainted at the birthing who never saw it for herself the woman with two children dead now...</p> </p>","PeriodicalId":44043,"journal":{"name":"EARLY AMERICAN LITERATURE","volume":"132 1","pages":""},"PeriodicalIF":0.3000,"publicationDate":"2024-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"What Woman That Was: Poems for Mary Dyer by Ann Myles (review)\",\"authors\":\"Rebecca M. 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Hutchinson's ministerial trials—capped off by the discovery and exhumation of Dyer's non-normative stillbirth, delivered by Hutchinson in her work as a midwife, and buried on the advice of John Cotton—cemented popular conceptions of both women as vessels of unauthorized and unorthodox speech, rendering Dyer, \\\"the woman who had the Monster,\\\" physical proof of spiritual error's toll on the human form (John Winthrop, <em>Short Story of the Rise, Reign, and Ruin of the Antinomians, Familists, and</em> <strong>[End Page 227]</strong> <em>Libertines</em> [Ralph Smith, 1644]). Scholars of early American and Quaker studies will also recognize Mary Dyer as one of the four members of the Society of Friends executed in Boston from 1660 to 1661, eulogized afterward as martyrs. Though a highly visible presence in both those conflicts, Dyer's own story has never been easy to trace.</p> <p>Now, in her poetry collection <em>What Woman That Was</em>, Anne Myles gives us the chance not only to encounter Dyer, but also to know her. She gives voice to Dyer, using both her recorded words (from two letters to the Massachusetts General Court) and the imagined encounters she could have had with the texts, figures, and movements of her many times and places. These include the well-documented trials involving not only the accused antinomian Hutchinson, alongside whom she was banished from Massachusetts, but also the trials of fellow executed Quakers William Robinson, Marmaduke Stephenson, and William Leddra, as well as several epochs of nonconformist settler colonial conflicts across the Atlantic world. These poems allow us to see Dyer fully, setting caricature and sensational reportage aside (though Myles has illustrated that dichotomy for us before, in \\\"From Monster to Martyr: Re-presenting Mary Dyer,\\\" her 2001 article in this journal (vol. 36, no. 1, pp. 1–30). Verse allows Myles to recast Dyer as a radical ancestor, achingly present to many who wish to be heard and seen. As \\\"The Prologue: May-shine\\\" suggests, these poems attempt to retrieve \\\"the book of lost words,\\\" squaring Dyer's centrality to two major nonconformist power struggles with the glaring absence of her own testimony from the records that cover all but the last months of her life (9).</p> <p>Dyer, as ventriloquized and met in conversation by Myles, is not a mute victim or zealot. Instead, she is a mystic, ecstatic in her conviction, even as her husband's settler colonial ambitions, land hunger, and desire for domestic normativity both reinforce and interfere with her religious evolution. In doing so, Myles lyrically resolves the two great ruptures in early American gender, religious, and legal history that Dyer marks with her presence to demonstrate how she became a key player in each. Myles expertly showcases Dyer's position at each point in this timeline, pulling out the threads of her nonconformist spiritual self-realization. Woven together, they portray a steady trajectory of radical activism, prophetic clarity, self-possession, and unwavering self-direction.</p> <p>Teaching Myles's collection within any number of variations of the early American survey would be intuitive. It is a natural pairing with the documents of David D. Hall's <em>Antinomian Controversy</em> (Duke UP, 1990) and <strong>[End Page 228]</strong> alongside any seminar on women's writings or protest movements of the early Americas. 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引用次数: 0
摘要
以下是内容的简要摘录,以代替摘要:评论者: 曾经的女人:安-迈尔斯写给玛丽-戴尔的诗 瑞贝卡-M.-罗森(简历) What Woman That Was:献给玛丽-戴尔的诗》(What Woman That Was: Poems for Mary Dyer),安-迈尔斯最终星期四出版社,2022 年,60 页。大多数研究早期美国文学的读者都曾在有关哈钦森布道引发的 1636-38 年 "禁欲论争 "的记录中见过安妮-哈钦森的追随者玛丽-巴雷特-戴尔。哈钦森的牧师审判以发现和挖掘戴尔的非正常死胎而告终,戴尔的死胎是哈钦森作为助产士接生的,在约翰-科顿(John Cotton)的建议下被埋葬、戴尔是 "生了怪物的女人",她是精神错误对人体造成伤害的物证(约翰-温思罗普,《安息日派、家庭派和自由派的兴起、统治和毁灭的简短故事》[拉尔夫-史密斯,1644 年])。研究早期美国和贵格会的学者也会认识到,玛丽-戴尔是 1660 年至 1661 年在波士顿被处死的四名公谊会成员之一,事后被讴歌为殉道者。虽然戴尔在这两场冲突中都非常引人注目,但她本人的故事却一直难以追溯。现在,在她的诗集《曾经的女人》中,安妮-梅尔斯不仅让我们有机会邂逅戴尔,还让我们有机会了解她。她用戴尔记录下来的文字(两封写给马萨诸塞州普通法院的信),以及她想象中与文本、人物和她所处时代和地点的运动的相遇,为戴尔代言。其中不仅包括记录详实的审判,涉及被控反禁欲主义者哈钦森(她与哈钦森一起被放逐出马萨诸塞州),还包括被处决的贵格会成员威廉-罗宾逊、马马杜克-斯蒂芬森和威廉-莱德拉的审判,以及大西洋世界几个时代的非宗教定居者殖民冲突。这些诗歌让我们得以全面了解戴尔,将漫画和耸人听闻的报道抛在一边(尽管迈尔斯曾在《从怪物到烈士》一文中为我们展示过这种二分法:重新呈现玛丽-戴尔",她 2001 年在本刊发表的文章(第 36 卷,第 1 期,第 1-30 页)。诗歌让迈尔斯将戴尔重新塑造成一位激进的先辈,让许多希望被倾听和被看见的人痛彻心扉。正如 "序言:这些诗歌试图找回 "遗失的文字之书",将戴尔在两场重大的非传统主义权力斗争中的中心地位与她自己的证词在记录中的明显缺失相提并论,这些记录涵盖了她生命中除最后几个月之外的所有时间(9)。戴尔在迈尔斯的口述和对话中,并不是一个哑巴受害者或狂热分子。相反,她是一个神秘主义者,在她的信念中欣喜若狂,即使她丈夫殖民定居者的野心、对土地的渴求以及对家庭规范性的渴望既强化了她的宗教演变,也干扰了她的宗教演变。在此过程中,迈尔斯抒情地化解了戴尔在美国早期性别、宗教和法律史上的两次重大断裂,展示了她是如何成为这两次断裂中的关键人物的。迈尔斯巧妙地展示了戴尔在这一时间轴上的每一点所处的位置,勾勒出她不拘一格的精神自我实现的脉络。这些线索交织在一起,描绘出一条激进的行动主义、先知般的清晰、自我掌控和坚定不移的自我指导的稳定轨迹。在美国早期调查的各种变体中教授梅尔斯的作品集是很直观的。它与戴维-D-霍尔(David D. Hall)的《安提诺米亚之争》(Antinomian Controversy,杜克大学出版社,1990 年)的文献以及 [尾页 228]任何有关早期美洲妇女著作或抗议运动的研讨会都是天然的搭配。标题诗《那是怎样的女人》将温思罗普的《短篇小说》文本与戴尔重构的反对意见穿插在一起,利用抹去曾经占主导地位的宣传小册子来构建一种反叙述的意识流,传达了我们已经失去了声音的其他证人的坚持不懈的叙述:"那个女人在那一刻知道或不知道她生下的是什么,为什么她的助产士会在夜深人静的时候把它埋掉,那个女人在分娩时晕倒了,她从来没有亲眼看到过,那个女人有两个孩子,现在死了。..
What Woman That Was: Poems for Mary Dyer by Ann Myles (review)
In lieu of an abstract, here is a brief excerpt of the content:
Reviewed by:
What Woman That Was: Poems for Mary Dyer by Ann Myles
Rebecca M. Rosen (bio)
What Woman That Was: Poems for Mary Dyer ann Myles Final Thursday Press, 2022 60 pp.
Most readers of Early American Literature have encountered Mary Barrett Dyer, a follower of Anne Hutchinson, in the records of the Antinomian Controversy of 1636–38 sparked by Hutchinson's preaching. Hutchinson's ministerial trials—capped off by the discovery and exhumation of Dyer's non-normative stillbirth, delivered by Hutchinson in her work as a midwife, and buried on the advice of John Cotton—cemented popular conceptions of both women as vessels of unauthorized and unorthodox speech, rendering Dyer, "the woman who had the Monster," physical proof of spiritual error's toll on the human form (John Winthrop, Short Story of the Rise, Reign, and Ruin of the Antinomians, Familists, and[End Page 227]Libertines [Ralph Smith, 1644]). Scholars of early American and Quaker studies will also recognize Mary Dyer as one of the four members of the Society of Friends executed in Boston from 1660 to 1661, eulogized afterward as martyrs. Though a highly visible presence in both those conflicts, Dyer's own story has never been easy to trace.
Now, in her poetry collection What Woman That Was, Anne Myles gives us the chance not only to encounter Dyer, but also to know her. She gives voice to Dyer, using both her recorded words (from two letters to the Massachusetts General Court) and the imagined encounters she could have had with the texts, figures, and movements of her many times and places. These include the well-documented trials involving not only the accused antinomian Hutchinson, alongside whom she was banished from Massachusetts, but also the trials of fellow executed Quakers William Robinson, Marmaduke Stephenson, and William Leddra, as well as several epochs of nonconformist settler colonial conflicts across the Atlantic world. These poems allow us to see Dyer fully, setting caricature and sensational reportage aside (though Myles has illustrated that dichotomy for us before, in "From Monster to Martyr: Re-presenting Mary Dyer," her 2001 article in this journal (vol. 36, no. 1, pp. 1–30). Verse allows Myles to recast Dyer as a radical ancestor, achingly present to many who wish to be heard and seen. As "The Prologue: May-shine" suggests, these poems attempt to retrieve "the book of lost words," squaring Dyer's centrality to two major nonconformist power struggles with the glaring absence of her own testimony from the records that cover all but the last months of her life (9).
Dyer, as ventriloquized and met in conversation by Myles, is not a mute victim or zealot. Instead, she is a mystic, ecstatic in her conviction, even as her husband's settler colonial ambitions, land hunger, and desire for domestic normativity both reinforce and interfere with her religious evolution. In doing so, Myles lyrically resolves the two great ruptures in early American gender, religious, and legal history that Dyer marks with her presence to demonstrate how she became a key player in each. Myles expertly showcases Dyer's position at each point in this timeline, pulling out the threads of her nonconformist spiritual self-realization. Woven together, they portray a steady trajectory of radical activism, prophetic clarity, self-possession, and unwavering self-direction.
Teaching Myles's collection within any number of variations of the early American survey would be intuitive. It is a natural pairing with the documents of David D. Hall's Antinomian Controversy (Duke UP, 1990) and [End Page 228] alongside any seminar on women's writings or protest movements of the early Americas. The title poem, "What Woman That Was," interpolates the text of Winthrop's Short Story with Dyer's reconstructed objections, using erasure of the once-dominant propaganda pamphlet to construct a counternarrative stream of consciousness, conveying an insistent recounting by other witnesses whose voices we've lost: "the woman who at that moment knew or didn't know what she'd given birth to why her midwives had buried it in the dead of night who had fainted at the birthing who never saw it for herself the woman with two children dead now...