Cultural Fictions Elizabeth Segel Douglas, Ann . The Feminization of Americn Culture. New York: Alfred A Knopf, 1977; Avon, 1978. Baym, Nina . Woman's Fiction: A Guide to Novels by and about Women in America, 1820-1870. Ithaca and London: Cornell University Press, 1978. The enormously popular fiction written by and for women in the nineteenth century has generally been dismissed as sentimental hack-work by literary historians, its authors branded by Hawthorne as "a d—d mob of scribbling women." That this large body of novels was neither monolithic nor static and that it well repays closer attention is convincingly demonstrated in these impressive studies by Ann Douglas and Nina Baym. The two scholars, however, approach the literature from different perspectives and bring to it strikingly different attitudes. Douglas's The Feminization of American Culture laments the loss in the nineteenth century of Calvinist certainty and dominance because "Until roughly 1820, this theological tradition was a chief, perhaps the chief, vehicle of intellectual and cultural activity in American life" (5).* The growing anti-intellectualism, materialism, and hypocrisy of the country she attributes to a coalition of genteel ladies and New England clergymen, both of whom were suffering from a loss of formal status and consequent powerlessness. Douglas suggests that the doctrine of "influence," with which these two groups sought to achieve power indirectly, and the formula fiction for women that propagated this doctrine, were the start of modern mass consumer culture, vacuous, nostalgic, and exploitative. Appended to her argument in the concluding section of the book are chapters on Margaret Fuller and Herman Melville, who tried to substitute for the old Calvinism a "fully humanistic, historically minded romanticism" and failed. My major reservation about Douglas's book formed as I read the title and the articulation of the book's thesis in the introductory chapter, and nothing in the rest of the book allayed my doubts on this point: Douglas deplores the deterioration of American intellectual life in the nineteenth century and the transformation of New England theology from Calvinism to a more liberal, nurturing, less authoritarian (but also less rigorous) theology, and she labels this decline "feminization." Leaving aside the possibility that one may see the theological component of this shift as progressive, rather than the reverse (Douglas admits that Calvinism was "repressive, authoritarian, dogmatic, patriarchal to an extreme" [12]), to use the term "feminization" in so pejorative a manner is to compound the injury that Victorian stereotyping instituted. It also undercuts her careful acknowledgment that women were losers in the whole process and that the forces bringing about the cultural deterioration were complex. Perhaps the title was chosen to take advantage of current interest in women's history. At any rate, late in the book Douglas refers to her study as "the story of Victorian sentimentalism in American" (309), and one wishes she had used a similar phrase for the book's title. The author's fundamental impatience with the female and clerical figures she treats comes through frequently, however, often in diction. "The pattern of defeat within victory which characterized the feminine takeover of America's schools. . ." (89); "Whatever their ambiguities of motivation, both [women and clergymen] believed they had a genuine redemptive mission in the society: to propagate the potentially matriarchal virtues of nurture, generosity, and acceptance. . . It is hardly altogether their fault that their efforts intensified sentimental rather than matriarchal values" (10, italics mine)—the latter a strikingly grudging admission. In viewing the women novelists as purveyors of an oppressive ideology, Douglas does not give enough weight to the spur of economic desperation. She does note in passing that the majority of the women turned to writing because they had dependents—small children, bankrupt fathers, ill husbands—and no other way of earning sufficient money, but she does not allow that this need dictated the type of novels they wrote. As R. Gordon Kelly has pointed out: "Where speed and sheer volume of material become essential, some degree of standardized form becomes a functional necessity." The particular standardized form, or formula, adopted will be one which "embodies the values, expectations, assumptions, hero types, and needs of a social group. . . ." (Mother Was a Lady. Westport: Greenwood...