Harriet E. Wilson was born a free person of color in New
Hampshire in 1825. A source encapsulates her early life, noting that she was
born Harriet, “Hattie” Adams in Milford, New Hampshire, and was the biracial
dauther of Margaret Adams Smith, an Irish woman, and Joshua Green, an African
American. Her father died when Hattie was still a child, and her mother left
her at the home of a wealthy New Hampshire farmer, where she was indentured to
his family. This indenturement was, at the time, “a customary way for society
at the time to arrange support and education for orphans. In exchange for
labor, the orphan child would be given room, board and training in life skills,
so that she could make her way in society” (1).
Harriet Wilson is now considered by many scholars to have
been the first African American to have published a novel in the United States.
The novel, published anonymously in 1859, was entitled Our Nig, or Sketches from the Life of a Free Black, but received
little acclaim until it was discovered by scholar Henry Louis Gates, Jr. in
1982 when it received widespread attention.
Until this discovery, William Wells Brown’s Clotel, or The President’s
Daughter held distinction as the first novel to be published by an African
American author; however Wilson’s was published in Boston, while Brown’s was
published in the United Kingdom while he was still a fugitive slave. At the
time of its publication, there was considerable controversy among Abolitionists
as to whether or not Our Nig did not fit the profile of the traditional “Slave
Narrative,” and therefore did not serve the propagandist purposes of the
movement. Further, Wilson’s novel did not depict the image of the black woman
as the submissive victim of miscegenation’s wicked consequences: the novel does
not forecast freedom for its protagonist, and the heroine of the tale takes a
stand against a white woman (2).
However, an interesting aspect of Wilson’s own life was her
connection to the Spiritualist Church—an organization founded on the belief in
contact with the spirit world. Its moorings can be found in the writings of
Emanuel Swedenborg and Franz Mesmer, whose lives’ works support the
investigation of life after death. The Spiritualist Church also had connections
with reform movements of the time, such as Abolition and Suffrage. At the time,
women were disallowed from public speaking—that activity being one of the many components
of the male sphere. Trance mediums,
women who claimed to be able to communicate with the beyond, were often allowed
audience in public speaking circuits because they were guided not by their own
free will, but by the spirits who communicated through them. This practice, in
its own way, became its own mode of signification: using performance as a means
to surpass or subvert societal restrictions on behavior.
Cora L. V. Scott was a famous trance medium in the latter half of the nineteenth century. She wrote many books in which she attributed the writing to spirit guides
An active member of the Spiritualist Church, she was well-known
and beloved among its members as an active participant in the Children’s
Progressive Lyceum as an organizer and sponsor, participating in plays and
singing in a quartet. Known as a spiritual healer and “clairvoyant nurse,” her
reputation spread in Spiritualist circles as “the colored medium.”
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