For the first time, this volume brings together essays by feminist, Americanist, and theater scholars who apply a variety of sophisticated critical approaches to Susan Glaspell’s entire oeuvre. Glaspell’s one-act play, “Trifles,” and the short story that she constructed from it, “A Jury of Her Peers,” have drawn the attention of many feminist critics, but the rest of her writing—the short stories, plays and novels—is largely unknown. The essays gathered here will allow students of literature, women’s studies and theater studies an insight into the variety and scope of her oeuvre.
Glaspell’s political and literary thinking was radicalized by the turbulent Greenwich Village environment of the first decades of the twentieth century, by progressive-era social movements and by modernist literary and theatrical innovation. The focus of Glaspell studies has, till recently, been dominated by the feminist imperative to recover a canon of silenced women writers and, in particular, to restore Glaspell to her rightful place in American drama. Transcending the limitations generated by such a specific agenda, the contributors to this volume approach Glaspell’s work as a dialogic intersection of genres, texts, and cultural phenomena—a method that is particularly apt for Glaspell, who moved between genres with a unique fluidity, creating such modernist masterpieces as
The Verge or Brook Evans
. This volume establishes Glaspell’s work as an “intersection of textual surfaces,” resulting for the first time in the complex aesthetic appreciation that her varied life’s work merits.