By Drew Cruikshank, Intern

At the present time, most authors take immense pride in their work and have no issue with receiving credit for it. However, it was quite common for authors during the nineteenth century and prior to use pseudonyms. Authors would take on a nom de plume for a multitude of reasons, one of them being to avoid stigmatization from their society. Though, it was much easier for men to excel as authors for, as Charlotte Brontë wrote herself, authoresses were “liable to be looked on with prejudice.”[i] In spite of this bias, much of the nineteenth century’s most brilliant writing came from the pen of a woman. With this, we will be discussing seven leading authoresses of the nineteenth century who chose to remain anonymous, including Jane Austen, Amantine Lucille Aurore Dupin, the Brontë sisters, Mary Ann Evans, and Louisa May Alcott.

Jane Austen, or A Lady (1775-1817)

Portrait of Jane Austen by Cassandra Austen, c. 1810

Regardless of whether you have actually read anything by Jane Austen, you have probably been assigned one of her novels at some point in your academic career and / or have seen one of the numerous adaptations that have been made. Austen is a household name, best known for novels like Pride and Prejudice and Sense and Sensibility. Despite being an esteemed author today, in her lifetime, Austen chose to remain anonymous, receiving a modest living from her novels. For her first published novel, Sense and Sensibility (1811), Austen decided to sign her work with ‘By a Lady.’ Unlike other writers of her time, she did not take on a male name. While she did not wish to reveal her own identity, she did want the general public to realize and understand that a woman, and more importantly a woman of high standing, was just as capable of writing a great novel than any man was. After the success of her first novel, Austen went on to publish Pride and Prejudice (1813), attributing it to ‘the author of Sense and Sensibility.’ She also published Mansfield Park (1814) and Emma (1815) anonymously. After she passed away in 1817, her brother published Northanger Abbey and Persuasion, revealing in the biographical note the truth about Austen’s identity.

Amantine Lucile Aurore Dupin, or George Sand (1804-1876)

Amantine Lucile Aurore Dupin was a French Romantic novelist—one of the best, surpassing her male counterparts. Finding married life too repressive, Dupin left her husband but soon realized that she would not be able to sustain herself on her measly monthly allowance and took to writing. After authoring a few collaborative novels, she wrote and then published Indiana (1832), which was the first novel she signed with the pseudonym George Sand. Unlike other authoresses, Dupin’s pseudonym quickly consumed her identity. For Dupin, her writing was an extension of herself, intended to raise women up from their “abject position.” In a letter to Frederic Girerd from 1837 she expands on this idea:

People think it very natural and pardonable to trifle with what is most sacred when dealing with women: women do not count in the social or moral order. I solemnly vow—and this is the first glimmer of courage and ambition in my life! —that I shall raise woman from her abject position, both through myself and my writing.[ii]

Taking her activism one step further, Dupin took to the streets, wearing menswear at a time when a woman wearing pants called for a hefty fine. In taking on a pseudonym and wearing whatever she pleased, Dupin actively subverted traditional gender roles.

Charlotte, Emily, and Anne Brontë, or Currer, Ellis, and Acton Bell (1816-1855; 1818-1848; 1820-1849)

Portrait of the Brontë Sisters (Anne; Emily; Charlotte) by Branwell Brontë, c. 1834

Trying to succeed as an authoress during this time was incredibly difficult, since the expectation was that women would spend all of their time tending to their family. Further, the Brontës wished to delve into themes of class, sexuality, religion, and feminism in their novels—topics which the public considered taboo for women to write about. At times drawing from their own life experiences, Kristen Pond states that their novels focus on “the ways women’s lives do not fit within the strictures of the realist Bildungsroman plot.”[iii] After Charlotte had published her second novel, Shirley (1849), prominent critic George Henry Lewes (who would later form a relationship with Mary Ann Evans, better known as George Eliot) discovered that ‘Currer Bell’, the pseudonym that Charlotte had successfully been writing under for several years, was in fact Charlotte. Though, there has been discussion that Lewes’ did suspect that ‘Currer’ was in fact a woman, mentioning in his review that “the authoress is unquestionably setting forth her own experience.”[iv] Obviously disgruntled about Lewes’ discovery, Charlotte wrote in a letter to him in 1849 that she did not want the public to view her as a woman:

I wish all reviewers believed ‘Currer Bell’ to be a man; they would be more just to him. You will, I know, keep measuring me by some standard of what you deem becoming to my sex; where I am not what you consider graceful you will condemn me.[v]

Mary Ann Evans, or George Eliot (1819-1880)

Portrait of George Eliot by François D’Albert Durade, 1849

Mary Ann Evans was one of the most dominant writers during the Victorian era, known widely for her novel Middlemarch (1871). Evans chose to write under a pseudonym because she wished to write more expansively, beyond just romances. Like other leading authoresses, she challenged the expectations that critics had for women’s writing. Eventually, though, the literary community accepted Evans as a writer, partially a result of her relationship with George Henry Lewes. While her relationship gave her more freedom to write as she pleased, she still felt criticism from those around her, specifically because Lewes was already a married man. Evans, like Dupin, was known by her pseudonym and chose to keep her alias.

Louisa May Alcott, or A. M. Barnard (1832-1888)

Louisa May Alcott was an American novelist, best known for her novel Little Women (1868-69). Prior to Little Women’s success, though, Alcott used several pseudonyms. As an up and coming writer, Alcott used the name Flora Fairfield, as she was not confident enough in her writing just yet to include her real name. Then, depending on what she wished to write about, Alcott would either use her real name or the pseudonym A.M. Barnard. She specifically used this pen name when she wrote thrillers—focusing on spies and revenge—like Behind a Mask, or, A Woman’s Power (1866) and The Abbot’s Ghost: A Christmas Story (1867). The name A.M. Barnard made it possible for Alcott to support herself financially and gave her the freedom to write without stigmatization. After publishing Little Women, Alcott tended to avoid discussing the novels she wrote under her pseudonym.

During the nineteenth century, authoresses would take on pseudonyms for several reasons; however, as we have seen with these seven women, more often than not it was because, as women, they were not regarded as ‘real’ writers by society’s standards. Nonetheless, they found power in anonymity and it is due to these women that we have some of the most well-known and praised classic books.

Bibliography

Gary, Franklin. “Charlotte Brontë and George Henry Lewes.” PMLA: Publications of the Modern Language Association of America 51, no. 2 (June 1, 1936): 518-542. https://www-jstor-org.uml.idm.oclc.org/stable/458068.

Pond K. (2019) Brontë, Charlotte. In: Scholl L. (eds) The Palgrave Encyclopedia of Victorian Women’s Writing. Palgrave Macmillan, Cham. https://doi-org.uml.idm.oclc.org/10.1007/978-3-030-02721-6_31-1.

Winegarten, Renee. The Double Life of George Sand, Woman and Writer: A Critical Biography. New York: Basic Books Inc., 1978.

[i] Pond K. (2019) Brontë, Charlotte. In: Scholl L. (eds) The Palgrave Encyclopedia of Victorian Women’s Writing. Palgrave Macmillan, Cham. https://doi-org.uml.idm.oclc.org/10.1007/978-3-030-02721-6_31-1, qtd. From Wuthering Heights, Norton Edition, p.4

[ii] Renee Winegarten, The Double Life of George Sand: woman and writer (New York: Basic Books Inc., 1978), 161.

[iii] Pond K. (2019) Brontë, Charlotte. In: Scholl L. (eds) The Palgrave Encyclopedia of Victorian Women's Writing. Palgrave Macmillan, Cham. https://doi-org.uml.idm.oclc.org/10.1007/978-3-030-02721-6_31-1

[iv] Franklin Gary, “Charlotte Brontë and George Henry Lewes,” PMLA 51, no. 2 (June 1, 1936): 527

[v] Ibid.