In Walden Thoreau famously observes that men appear never to have considered what a house is, and are actually though needlessly poor all their lives because they think that they must have such a one as their neighbors have.[1] Five years later the well-known Ohio-born writer and poet Alice Cary published a short story whose title (no doubt unintentionally) echoes Thoreau's famous work but takes issue with many of its values. In Mrs. Walden's Confidant (1859) Cary concludes that women are spiritually impoverished when they don't think they must have a house like their neighbors': good citizenship and spiritual development require competitive housekeeping. Cary's parable of republican motherhood takes place on the Fourth of July for the same reason that Thoreau occupied his cabin on that date in 1845: like Walden it engages the relationships among independence, materialism, national growth, and personal fulfillment. proprietary ease with which Thoreau lets drop the date of his occupancy suggests intimacy with national mythology, a cozy relationship between writer and reader about the meaning of Independence Day. In Mrs. Walden's Confidant, however, this relationship is complicated by the main character's exclusion from the plot of ascending power that drives Independence Day orations, Walden, and classic narratives of the rise from small beginnings alike. When Ben Franklin describes his arrival in Philadelphia in the Autobiography, for example, he revels in his sorry condition because it permits the reader to compare such unlikely beginnings with the figure I have since made there. And he is careful to both include and contain his future wife's role by defining her as a witness rather than participant in this figure's construction: as he passes her house he notes that she, standing at the door, thought I made -- as I certainly did -- a most awkward, ridiculous appearance.[2] Miss Read is the perfect witness to Mr. Franklin's life narrative, but she has little else to do with it. In Mrs. Walden's Confidant, however, Cary explores how women can get beyond this impasse by becoming readers -- and writers their own stories, and how within certain limitations they can govern narratives of exclusion and even victimization. In so doing she offers instructive lesson about the perils and rewards of the antebellum woman's participation in nation building and a forceful I alternative to canonical narratives of auto-american-biography[3] and their fictional counterparts. Mrs. Walden's Confidant takes place in and near a small Ohio village whose rapid growth is presented as representative of both Western expansion and national prosperity: it is the nation's most flattering vision of itself in miniature. The soil was productive, and there was abundance of wood, water and stone; fine clay for making bricks; besides other advantages which made the farmers about naturally a little proud -- and this pride extended from their possessions to the property of their neighbors.[4] There is talk of a seminary and some half-dozen new dwellings and a third story is planned for the North American Hotel, for which the owner has commissioned a sign neatly summarizing the community's aspirations: an eagle soaring towards the sun, with the motto beneath, 'upward and onward' (p. 291). Thus the story's first few pages present the familiar typology of America as a rising country. Indeed, as the story opens, the village prepares for a general celebration of the Fourth of July to culminate in a procession lead by two of the of the oldest men in the neighborhood -- real Revolutionary soldiers (p. 291) bearing the American flag and flanked by little girls with baskets of flowers. nation is young enough to exhibit its still-living liberators, yet old enough to strike out on its own: youth and age are happy companions. Waldens are a notable exception to the generally celebratory air. Their farm is plainly in view, not only of the steeple and the liberty pole, but also of the people gathering in front of the hotel (pp. …