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Luke Thomas
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Three decades after the women's movement offered women greater equality and expanded roles, a small chorus of media critics laments what it sees as a one-dimensional portrayal of women by Madison Avenue, characterized by nudity, extreme thinness, sensuality, even bondage. With their dual emphasis on physical perfection and sexuality, such ads, these critics say, can create body dissatisfaction, fuel addictions, and subtly legitimize violence and bondage.




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But the parts of Schweninger's introduction emphasizing the variegated within Southern slave society are themselves in tension with other interpretations he advances and, to my mind, with some of the documents themselves. The petitions for divorce from white slaveholding women, he argues, "reveal the harsh realities of plantation life, providing details" of tyrannical husbands and masters, details often "excluded from diaries, letters, recollections, and many other sources." The world they "reveal" to the courts is one of "adultery, interracial sex, alcoholism, violence, brutality, abandonment, incest, and insanity" far in excess of non-slaveholding societies (p. 6; see also 27-28). On the strength of these and other types of petitions, Schweninger also dismisses the work of "some historians" who have portrayed the master-slave relationship as one involving negotiation and compromise. "Petitions," he states directly, "provide very little evidence that such was the case" and much evidence of "the savage nature of human bondage" (p. 9). And if the petitions depict masters as brutal despots, they depict slaves as engaged in "a constant struggle" for their freedom (p. 10). The documents following the editor's introduction give the reader no reason to question this characterization of the frightful world they reveal.


In this drama we witness the bondage of gratitude,-one of the most enslaving and paralyzing factors. Mr. Brauer, a landed proprietor, has a child, Gertrude, a beautiful girl, who has always lived the sheltered life of a hothouse plant. The Brauers also have an adopted daughter, Marie, whom they had picked up on the road, while traveling on a stormy night. They called her "the calamity child," because a great misfortune had befallen them shortly before. Mr. Brauerís younger brother, confronted with heavy losses, had shot himself, leaving behind his son George and a heavily mortgaged estate. The finding of the baby, under these circumstances, was considered by the Brauers an omen. They adopted it and brought it up as their own.


Marie never forgot for a moment that she owed everything-her education, her support and happiness-to her adopted parents. She wrapped herself around them with all the intensity and passion of her nature. She became the very spirit of the house. She looked after the estate, and devoted herself to little Gertrude, as to her own sister.


Now they all but find courage and strength for it, when the pitiful plaint reaches them, "Oh, mine Mamie, mine daughter, mine child." And Marie is cast down from the sublime height of her love and passion, down to the realization that she also, like her pariah mother, must go out into the world to struggle, to fight, to become free from the bondage of gratitude, of charity and dependence. 041b061a72


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