My Wife and I; Or, Harry Henderson's History — A Closer Reading
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This digital edition of My Wife and I; Or, Harry Henderson's History — A Closer Reading is described by source-level measurements including 168,817 words, 12 hr 14 min estimated reading time, and 53 detected text sections.
The text analysis averages about 21.2 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “American fiction -- 19th century,” connecting these edition facts with the source record’s subject description.
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THE AUTHOR DEFINES HIS POSITION.
It appears to me that the world is returning to its second childhood, and running mad for Stories. Stories! Stories! Stories! everywhere; stories in every paper, in every crevice, crack and corner of the house. Stories fall from the pen faster than leaves of autumn, and of as many shades and colorings. Stories blow over here in whirlwinds from England. Stories are translated from the French, from the Danish, from the Swedish, from the German, from the Russian. There are serial stories for adults in the _Atlantic_, in the _Overland_, in the _Galaxy_, in _Harper's_, in _Scribner's_. There are serial stories for youthful pilgrims in _Our Young Folks_, the _Little Corporal_, "_Oliver Optic_," the _Youth's Companion_, and very soon we anticipate newspapers with serial stories for the nursery. We shall have those charmingly illustrated magazines, the _Cradle_, the _Rocking Chair_, the _First Rattle_, and the _First Tooth_, with successive chapters of "Goosy Goosy Gander," and "Hickory Dickory Dock," and "Old Mother Hubbard," extending through twelve, or twenty-four, or forty-eight numbers.
I have often questioned what Solomon would have said if he had lived in our day. The poor man, it appears, was somewhat _blasé_ with the abundance of literature in his times, and remarked that much study was weariness to the flesh. Then, printing was not invented, and "books" were all copied by hand, in those very square Hebrew letters where each letter is about as careful a bit of work as a grave-stone. And yet, even with all these restrictions and circumscriptions, Solomon rather testily remarked, "Of making many books there is no end!" What would he have said had he looked over a modern publisher's catalogue?
It is understood now that no paper is complete without its serial story, and the spinning of these stories keeps thousands of wheels and spindles in motion. It is now understood that whoever wishes to gain the public ear, and to propound a new theory, must do it in a serial story. Hath any one in our day, as in St. Paul's, a psalm, a doctrine, a tongue, a revelation, an interpretation--forthwith he wraps it up in a serial story, and presents it to the public. We have prison discipline, free-trade, labor and capital, woman's rights, the temperance question, in serial stories. We have Romanism and Protestantism, High Church, and Low Church and no Church, contending with each other in serial stories, where each side converts the other, according to the faith of the narrator.
We see that this thing is to go on. Soon it will be necessary that every leading clergyman should embody in his theology a serial story, to be delivered from the pulpit Sunday after Sunday. We look forward to announcements in our city papers such as these: The Rev. Dr. Ignatius, of the Church of St. Mary the Virgin, will begin a serial romance, to be entitled "St. Sebastian and the Arrows," in which he will embody the duties, the trials, and the temptations of the young Christians of our day. The Rev. Dr. Boanerges, of Plymouth Rock Church, will begin a serial story, entitled "Calvin's Daughter," in which he will discuss the distinctive features of Protestant theology. The Rev. Dr. Cool Shadow will go on with his interesting romance of "Christianity a Dissolving View,"--designed to show how everything is, in many respects, like everything else, and all things lead somewhere, and everything will finally end somehow, and that therefore it is important that everybody should cultivate general sweetness, and have the very best time possible in this world.
By the time all these romances get to going, the system of teaching by parables, and opening one's mouth in dark sayings, will be fully elaborated. _Pilgrim's Progress_ will be no where. The way to the celestial city will be as plain in everybody's mind as the way up Broadway--and so much more interesting! Finally all science and all art will be explained, conducted, and directed by serial stories, till the present life and the life to come shall form only one grand romance. This will be about the time of the Millennium.
Meanwhile, I have been furnishing a story for the _Christian Union_, and I chose the subject which is in everybody's mind and mouth, discussed on every platform, ringing from everybody's tongue, and coming home to every man's business and bosom, to wit:
I trust that Miss Anthony and Mrs. Stanton, and all the prophetesses of our day, will remark the humility and propriety of my title. It is not I and My Wife--oh no! It is My Wife and I. What am I, and what is my father's house, that I should go before my wife in anything?
Harriet Beecher Stowe’s My Wife and I; Or, Harry Henderson’s History (1872) is narrated by a young man, Harry Henderson, who recounts his courtship and encounters with various women. The preface explicitly warns against reading characters as portraits of real individuals, yet the excerpts show Stowe constructing types—such as the “advanced woman” Audacia Dangyereyes—to dramatize contemporary debates about women’s emancipation. The catalog subjects list “Courtship – Fiction” and “Marriage – Fiction,” but the text’s focus on reformist rhetoric and gender performance complicates these categories.
A Male Narrator in a Woman’s Novel
Stowe’s choice of a first-person male narrator is unusual for a female author of the period. Harry Henderson’s voice is self-deprecating and bewildered, especially when confronted by assertive women. In one scene, he describes his hand covering Eva’s “as if it had been a young bird,” a simile that conveys both tenderness and his own uncertainty about the boundaries of friendship. The narration often dwells on Harry’s internal confusion, as when he wonders whether holding a hand is “one of the privileges of friendship.” This perspective allows Stowe to critique male assumptions about female passivity while maintaining a conventional romantic plot.
The Shock of the New Woman
The character Audacia Dangyereyes embodies the “modern emancipated young woman” Stowe mentions in her preface. In chapter 23, Audacia bursts into Harry’s room uninvited, calls him “bub” and “sonny,” and physically invades his space by laying an arm on his shoulder. Her language is deliberately coarse: she tells Harry he is “in heathen darkness” and that he has “not the least idea” what women’s emancipation means. The scene is structured as a comic reversal of gender roles, with the male narrator rendered speechless. Stowe uses Audacia to test the limits of reformist rhetoric, but the excerpts do not reveal whether the novel endorses or satirizes her views.
Theoretical Debates vs. Romantic Action
Despite the catalog subject “Romance fiction,” the excerpts contain little romantic development. Instead, they foreground ideological arguments. Ida, another female character, delivers a speech about women becoming “more self-sustaining and self-supporting,” comparing her work to cutting a path through a wood. Harry’s response is physical rather than intellectual: he feels a “nervous flutter” and takes her hand. The novel seems to alternate between didactic dialogue and sentimental gesture, a pattern that may reflect Stowe’s attempt to reconcile reformist ideas with popular romance conventions. Readers should note that the excerpts cover only the first half of the novel; the resolution of these tensions is not visible here.
Readers approaching My Wife and I should attend to how Stowe uses Harry’s narration to mediate between competing visions of womanhood. The preface’s insistence that characters are not portraits suggests a deliberate typological method, but the excerpts show that types can still generate dramatic friction. Pay particular attention to shifts in register—from comic to earnest, from physical comedy to philosophical debate—as these may indicate where Stowe’s own sympathies lie.
Reading My Wife and I, I kept thinking about Audacia’s restless energy—how she refuses to sit quietly in any room. That same stubbornness lingered when I later opened Monica: A Novel, Volume 3 (of 3) — Background and Themes. There’s a particular ache in watching a character strain against the sentences written for her, and I found that ache echoing in both books, like a familiar afternoon light.
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