{"id":12965,"date":"2022-07-11T02:14:44","date_gmt":"2022-07-11T02:14:44","guid":{"rendered":"https:\/\/www.booksofall.com\/pl\/?post_type=product&p=12965"},"modified":"2022-07-11T02:55:34","modified_gmt":"2022-07-11T02:55:34","slug":"ghostwriter-and-ghost-the-strange-case-of-pearl-curran-patience-worth","status":"publish","type":"product","link":"https:\/\/www.booksofall.com\/pl\/ghostwriter-and-ghost-the-strange-case-of-pearl-curran-patience-worth\/","title":{"rendered":"Ghostwriter and Ghost The Strange Case of Pearl Curran & Patience Worth"},"content":{"rendered":"

In early 20th-century St. Louis, Pearl Curran<\/a> claimed to have conjured a long-dead New England puritan named Patience Worth through a Ouija board. Although mostly unknown today, the resulting books, poems, and plays that Worth “dictated” to Curran earned great praise at the time. Ed Simon investigates the curious and nearly forgotten literary fruits of a \u201cghost\u201d and her ghostwriter.<\/strong><\/p>\n

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Many moons ago I lived. Again I come. Patience Worth my name. Wait, I would speak with thee. If thou shalt live, then so shall I… Good friends, let us be merrie.<\/em><\/p><\/blockquote>\n

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On July 8th 1913, after months of experimentation, a St. Louis housewife named Pearl Curran finally had a breakthrough with her Ouija board<\/a>. From this initial correspondence, Pearl Curran wrote (or depending on your perspective, transcribed) millions of words she attributed to a seventeenth-century poet who called herself Patience Worth. Historical novels, religious tracts, and lyric poems were published and embraced by mainstream scholars as authentic examples of early American literature mediated from beyond the grave. The figure of Patience Worth was commended as an exemplary writer by organizations such as the Joint Committee of Literary Arts of New York. She was included in journals alongside such future canonical authors as Edna St. Vincent Millay and she appeared in collections such as the\u00a0Anthology of Magazine Writing<\/em>\u00a0and the\u00a0Yearbook of American Poetry<\/em>. All the more amazingly, readers and critics agreed that this was new work by a woman who claimed to have been dead for more two and a half centuries.<\/p>\n

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These writing were either authentic documents that provided astounding evidence of humanity\u2019s survival after death, or an intricate and impressive hoax that hoodwinked scholars, critics, and editors. There is also another possibility, that these works were the improvisational literary productions of a prodigy who believed herself to be a conduit of some muse from the hereafter. Questions of authorship and intention aside, what remains are the books, plays and poems \u2013 once popular literature, and now forgotten. Curran\u2019s output prompts us to ask some fundamental questions about history, genre, intention, affect, authorship, and why we choose to read what we read. Furthermore, her writings are a fascinating curio of an era in American literary history when academics and quacks, the rational and the occult, scholarship and magic all mingled together in popular discourse.<\/p>\n

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Pearl Curran was born in 1883, towards the end of a century that saw the national landscape and the Unites States\u2019 position in the world radically altered. She and her audience were inheritors of the sometimes bizarre religious diversity of the American nineteenth century. It was a century that began with the religious anarchism of the Second Great Awakening, was defined by an apocalyptic Civil War, and which moved into the bourgeois and respectable spiritualism of the late Victorian era. Occult experimentation was embraced by leading thinkers and writers like William James who with other leading scientists founded the American Society for Psychical Research. Curran was enmeshed in a culture of esoterica that she would have encountered during a Victorian adolescence. And the figure of Patience Worth \u201crevealed\u201d herself at a perfect time, just as the rising international power that was the United States began to critically re-evaluate its seventeenth century Puritan origins.<\/p>\n

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Colonial American writings were long dismissed as embarrassing anti-intellectual relics by great nineteenth-century authors like Ralph Waldo Emerson and Nathaniel Hawthorne. In the early years of the twentieth century however, scholars began re-evaluating the seventeenth-century canon. Pearl Curran supplied a perfect model in her creation of Patience Worth, who was included alongside actual poets as an example of colonial American artistic genius. As the United States began to assert itself on a global stage it looked back towards its then agreed upon New England origins and began to refine its creation myth, extolling the virtues of Puritan thrift, industriousness, and individuality. Importantly for Curran the colonial period was also one where women\u2019s voices were surprisingly not ignored. In early American poetry the seventeenth-century poet Anne Bradstreet (1612-1672) dominates as the single most exemplary and important literary figure. Other women writers like Mary Rowlandson (1637-1711) were the Puritan equivalents of best-sellers.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/blockquote>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"