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Making Literature Matter

AN ANTHOLOGY
FOR READERS AND WRITERS
Making Literature Matter

AN ANTHOLOGY
FOR READERS AND
WRITERS

SEVENTH EDITION

John Schilb
Indiana University

John Clifford
University of North Carolina at
Wilmington
For Bedford/St. Martin’s
Vice President, Editorial, Macmillan Learning Humanities: Edwin Hill
Senior Program Director for English: Leasa Burton
Program Manager: John E. Sullivan III
Executive Marketing Manager, Readers and Literature: Joy Fisher Williams
Director of Content Development: Jane Knetzger
Developmental Editor: Alicia Young
Content Project Manager: Louis C. Bruno Jr.
Senior Workflow Project Supervisor: Joe Ford
Production Supervisor: Robin Besofsky
Media Project Manager: Allison Hart
Manager of Publishing Services: Andrea Cava
Project Management: Lumina Datamatics, Inc.
Composition: Lumina Datamatics, Inc.
Photo Editors: Hilary Newman, Angela Boehler
Photo Researcher: Candice Cheesman/Lumina Datamatics, Inc.
Text Permissions Manager: Kalina Ingham
Text Permissions Researcher: Jen Roach/Lumina Datamatics, Inc.
Senior Art Director: Anna Palchik
Text Design: Jean Hammond
Cover Design: John Callahan
Cover Image: Jill Hoy, Seals. Photo, Stuart Mullenberg Photography, LLC. Reproduced
with permission of Jill Hoy and Caroline Fenn.

Copyright © 2018, 2015, 2012, 2009 by Bedford/St. Martin’s.

All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or
transmitted in any form or by any means, electronic, mechanical, photocopying, recording,
or otherwise, except as may be expressly permitted by the applicable copyright statutes or
in writing by the Publisher.

2 1 0 9 8 7

f e d c b a

For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116

ISBN 978-1-319-11828-0 (EPUB)
Preface for Instructors

Preparing the seventh edition of Making Literature Matter reminds us that we

began work on the first edition more than two decades ago. We designed our
book for college courses needing a text that could play dual roles: as a
literature anthology and as a writing guide. Given the book’s many adoptions,
instructors appear to find that it achieves both purposes. Yet with each new
edition, we aim to do more than maintenance. We re-tailor the book to
address emerging trends. One of the trends we have grappled with in recent
years is how to capture the sustained attention of students who are incessantly
beguiled by their smartphones and the abundant distractions of the Internet.
What can a book or teacher do to make literature matter for a digital
generation — students who move fast and revel in various media? In
choosing literature for our book, we hunt for works that will engage them.
We strive to provoke their thoughts and stir their imaginations. Similarly, we
aim to ensure that our advice about writing helps students articulate their
ideas, even if they do this through a mélange of postmodern devices. We
survey teachers who have actually used our text, asking them how it can
better serve their classes. At the same time, we track new movements in
literature and in literary criticism. We note changes in composition studies,
including innovative technologies in the field. We observe what’s now
occurring in introductory college courses. Above all, we study how they
teach writing, reading, and research. In short, we conduct our own research.
This edition does retain key elements of its predecessors. Basically, Part
One performs the functions it has fulfilled before. The opening chapters
define literature and identify strategies for reading it closely. The rest of the
section chiefly presents ways to write about literature. Throughout, Part One
offers guidance in this art, drawing on numerous student essays for examples.
We focus especially on composing arguments. As in previous editions, we
point out that arguments needn’t be mere rants. We note that when college
courses ask students to write arguments, usually they want more than screeds.
Rather, they seek essays that are civil, thoughtful, and well supported, so that
readers can see how the writer’s main claim makes sense. We describe how,
in their encounters with literature, students can move from their initial
responses into this process of persuasion. We identify for them specific steps
that arguing about literature involves. We teach them how to pinpoint an
issue, take a position, tap evidence, and spell out their logic, so that other
people will respect their view. As in previous editions, Part One then turns to
the main kinds of literature featured in Part Two: poetry, short stories, plays,
and essays. We identify each genre’s typical elements, stressing the major
role these can play in literary interpretation. Part One then provides detailed
assistance with research-based papers, which courses in literature and
composition often require. We discuss various sorts of investigative projects,
explaining how to find, deploy, and cite sources. Finally, for this edition, Part
One concludes with a new Chapter 7, “Writing with Critical Approaches to
Literature.” This material was included as an appendix in previous editions;
we moved it up into the text to make it more visible and relevant for both
students and teachers and expanded it to cover more schools of thought.
Part Two of the book remains essentially a collection of literature. Again,
the selections appear in chapters focused on thematic topics: families; love;
freedom and confinement; crime and justice; and journeys. These subjects
quickly interest students due to their obvious relevance. As before, we
organize each chapter into small clusters of works. This arrangement
encourages comparison and contrast: students grow more aware of
similarities and more conscious of a text’s distinct traits. Every cluster in Part
Two remains packed with questions and writing assignments, offering
students numerous issues to pursue. Each chapter features five types of
clusters that promote special kinds of inquiry. One type gathers works by the
same author, such as Emily Dickinson and Langston Hughes. In a second
group, a single work, such as Sylvia Plath’s “Daddy,” is followed by
professional critics’ comments on it. A third cluster puts a work in cultural
context by juxtaposing it with other documents; a favorite example is Ralph
Ellison’s story “Battle Royal” with accompanying texts by Booker T.
Washington, W. E. B. DuBois, and Gunnar Myrdal. The fourth type places
works on related subjects from different genres in conversation with one
another. The fifth type — new to this edition — presents literary works that
explore current issues, such as immigration and capital punishment,
accompanied by arguments on the issue.
This seventh edition, however, mixes continuity with change. In other
words, we have engaged in revision ourselves. The book includes several
new features, which reflect our attention to developments in literature,
curricula, technology, and the larger world.

New to the Seventh Edition

The revisions in the second edition reflect the many useful suggestions of our
users and reviewers as well as our own attempts to integrate new
developments in literature and composition studies, along with current social,
cultural, scientific, and technological issues.
Much literature that is new to the book. Bearing in mind the world’s
ever-increasing diversity, we have added stirring contemporary selections by
writers such as Geeta Kothari, Karen Russell, Alexander Weinstein, Kristin
Valdez Quade, T. C. Boyle, Chad Abushnab, Rivka Galchen, Ted Chiang,
David Hernandez, and Meghan Daum. We also revive older texts that merit
renewed notice — classic works by the likes of Vladimir Nabokov, Langston
Hughes, Edgar Allan Poe, Michel Foucault, W. H. Auden, and Ryūnosuke
Akutagawa.
Several new topics for clusters. New clusters in the anthology emphasize
current world issues. For example, we group three essays that contemplate
governmental surveillance, and a play by Ida Fink is paired with a short story
by Ryūnosuke Akutagawa in a cluster that explores the experience of bearing
witness to horrific events. Other new selections appear in clusters that touch
on perpetual human concerns. For example, Geeta Kothari joins David
Sedaris and Ruth Reichl in a cluster of essays reflecting on the role that food
plays in family life. A story by Alexander Weinstein is paired with a Shirley
Jackson classic in a cluster that examines how tradition can be a trap. A short
story by Karen Russell appears alongside a Seamus Heaney poem, and both
explore impossible love.
“Literature and Current Issues” clusters link literary works to
contemporary debates. Responding to reviewers’ comments that students
often find it difficult to see how literature is relevant to the world they live in,
we have created a new kind of cluster that connects a literary selection to
arguments raised by contemporary issues. Examples include a poem about
narcissism by Tony Hoagland, accompanied by essays on millennials’
alleged self-obsession; a poem by Jimmy Santiago Baca, with essays
debating whether immigrants take jobs from native-born workers; a story by
Ursula K. Le Guin, with essays exploring the cost of one person’s happiness;
a Sherman Alexie poem, with debates on capital punishment.
More strategies for critical reading, and opportunities to practice them.
Chapter 4 on the reading process now includes a section on how to get ideas
for writing by tracing characters’ emotions, demonstrating how the strategy
can be applied to Edward Hirsch’s poem “Execution.” The chapter now
concludes with an additional poem (T. S. Eliot’s “The Love Song of J. Alfred
Prufrock”) and story (Allison Alsup’s “Old Houses”) on which students can
attempt the array of close-reading strategies they have learned in the chapter.
Necessary additions and updates to the chapter on research and
documentation. In Chapter 6, treatment of research includes more
information about using sources and avoiding plagiarism as well as citation
and documentation coverage that reflects the latest MLA guidelines
published in the eight edition of The MLA Style Manual (2016).
A new chapter in “Writing with Critical Approaches to Literature.”
This material existed as an appendix in previous editions of Making
Literature Matter, but due to its popularity, we moved it into the text chapters
and added discussions of affect theory, performance theory, cognitive theory,
and thing theory.

An Instructor’s Manual Is Available for Download

You may want to access the instructor’s manual, Resources for Teaching
Making Literature Matter: An Anthology for Readers and Writers, Seventh
Edition, through the online catalog page; visit macmillanlearning.com.
Prepared by John Schilb, John Clifford, Joyce Hollingsworth, and Laura
Sparks, these instructor resources include sample syllabi; advice (including
an annotated bibliography for further research) on teaching literature,
composition, and argumentation; and, especially, substantial commentaries
on the individual literary works throughout the book to aid class preparation
and discussion.

Acknowledgments
As always, the staff at Bedford/St. Martin’s has coached us with a rare blend
of insight, vision, practicality, wit, and warmth. The utter epitome of these
virtues is Steve Scipione, who remains our invaluable mentor and friend.
Karen Henry is also a stalwart and perceptive guide, and we also give thanks
to Leasa Burton, Senior Program Director for English, and Edwin Hill, Vice
President of Editorial for the Humanities at Macmillan Learning. We are
grateful as well to a hardworking editor, Alicia Young; a diligent associate
editor, Julia Domenicucci; and an industrious editorial assistant, Aubrea
Bailis. For their editorial vision in earlier editions of Making Literature
Matter, we thank Charles Christensen, Joan Feinberg, and Denise Wydra. In
production, we are grateful to Lou Bruno, Andrea Cava, and Michael
Granger. In the permissions department, text permissions manager Kalina
Ingham, permissions editor Jen Roach, photo researcher Candice Cheesman,
and photo research manager Angela Boehler expertly and efficiently
negotiated and obtained reprint rights.
Once more, we thank Janet E. Gardner, formerly of the University of
Massachusetts at Dartmouth, for her contributions to the chapter on research;
Joyce Hollingsworth of the University of North Carolina at Wilmington for
her previous work on the instructor’s manual; and Laura Sparks for the work
on the instructor’s manual for this edition.
As always, John Schilb is indebted to his former University of Maryland
colleague Jeanne Fahnestock and his current colleagues at Indiana
University, especially Christine Farris and Kathy Smith. John Clifford would
like to thank Sheri Malman for her invaluable assistance with this project,
especially her professional editing.
Of course, we remain grateful as well to the instructors who have
commented on various editions over the years — especially to those who
have adopted the book, some for many editions. For their extremely helpful
responses, we thank Liz Ann Baez Aguilar, San Antonio College; Jonathan
Alexander, University of California, Irvine; Donna Allen, Erie Community
College; Julie Aipperspach Anderson, Texas A&M University; Virginia
Anderson, University of Texas at Austin; Liana Andreasen, South Texas
College; Sonja L. Andrus, Collin County Community College; Joe Argent,
Gaston College; Andrew Armond, Belmont Abbey College; Carolyn Baker,
San Antonio College; Rance G. Baker, San Antonio College; Barbara
Barnard, Hunter College; Charles Bateman, Essex County College; Linda
Bensel-Meyers, University of Tennessee, Knoxville; Professor Alexander V.
Bernal, San Antonio College; Elaine Boothby, South River High School;
Colleen Brooks-Edgar, South Texas College; Christy Brown, Mission
College; Carole Bruzzano, Montclair State University; Susan Buchler,
Montgomery County Community College; Christopher Cartright, Armstrong
State University; Elizabeth L. Cobb, Chapman University; Robin Coffelt,
University of North Texas; Chauna Craig, Indiana University of
Pennsylvania; Timothy R. Cramer, Santa Monica College; Jacob Crane,
Bentley University; Michael A. Cronin, Northern Oklahoma College; Janet
Dale, Georgia College; Rosemary B. Day, Central New Mexico Community
College–Montoya Campus; Thomas Deans, Kansas State University; Kevin
J. H. Dettmar, Pomona College; Jennifer Diffley, Orange Coast College;
Jennifer Dorfield, Westfield State College; Michael Doyle, Blue Ridge
Community College; Penelope Dugan, Richard Stockton, College of New
Jersey; Thomas Dukes, University of Akron; Mary Dutterer, Howard
Community College; Kelly Edmisten, University of North Carolina at
Wilmington; Lauren Edmondson, Northern Virginia Community College;
Leigh Edwards, Florida State University; Monika Elbert, Montclair State
University; Irene R. Fairley, Northeastern University; John Funk, Bishop
Chatard High School; Joli Furnari, Montclair State University; Katie Frank,
Yavapai College; Selma Goldstein, Rider University; Martha K. Goodman,
Central Virginia Community College; Christopher Gould, University of
North Carolina at Wilmington; Maureen Groome, Brevard Community
College; Chad Hammett, Texas State University; John Hansen, Mohave
Community College; Martin Harris, Belmont Abbey College; William
Harrison, Northern Virginia Community College; Iris Rose Hart, Santa Fe
Community College; Glenn Hatcher, Gaston College; Denise Haughian,
University of Wisconsin-Stout; Carol Peterson Haviland, California State
University, San Bernardino; H. Suzanne Heagy, Fairmont State University;
Ana Hernandez, Miami-Dade College–Wolfson; John Heyda, Miami
University–Middletown; Jeff Hoogeveen, Lincoln University; Richard Dean
Hovey, Pima Community College; Karen Howard, Volunteer State
Community College; Clark Hutton, Volunteer State Community College;
Joan Kellerman, University of Massachusetts–Dartmouth; Sabine A. Klein,
Purdue University; Gerard Lambert, Miami Dade College; Sonya Lancaster,
University of Kansas; Kasee Clifton Laster, Ashland University; Marianne
Layer, Armstrong Atlantic State University; Michael J. Lee, Montgomery
County Community College; Margaret Lindgren, University of Cincinnati;
Donna Long, Fairmont State University; Linda Lovell, Northwest Arkansas
Community College; Irma Luna, San Antonio College; Betty Mandeville,
Volunteer State Community College; Henry Margenau, Montclair State
University; Kelly Martin, Collin County Community College; Phillip
Mayfield, Fullerton College; Miles S. McCrimmon, J. Sargeant Reynolds
Community College; Christopher McDermott, University of Georgia; Mandy
McDougal, Volunteer State Community College; Terence McNulty,
Middlesex Community College; Itzi Meztli, Slippery Rock University;
Rebecca Millan, South Texas College; Deborah Church Miller, University of
Georgia; Sharmila Nambiar, South Texas College; Steven Newman,
University of Nebraska–Omaha; Dana Nichols, Gainesville State College;
Jim O’Loughlin, University of Northern Iowa; Gordon O’Neal, Collin
County Community College; Christine Peter, University of Massachusetts–
Dartmouth; Brenton Phillips, Cloud County Community College; Jacqueline
Regan, Montclair State University; Kathleen Reiman, Yavapai College;
Nancy Lawson Remler, Armstrong Atlantic State University; Jim Richey,
Tyler Junior College; David Rollison, College of Marin; Jane Rosecrans, J.
Sargeant Reynolds Community College; Teri Rosen, Hunter College; Lisa
Roy-Davis, Collin County Community College; Donna Samet, Broward
Community College; Jamie Sanchez, Volunteer State Community College;
Daniel Schierenbeck, University of Central Missouri; Meryl F. Schwartz,
Lakeland Community College; Pauline Scott, Alabama State University; Julie
Segedy, Chabot College; Lucia Seranyan, Northern Virginia Community
College, Woodbridge Campus; Kimberly Alford Singh, Northern Virginia
Community College; Jason Skipper, Miami University at Oxford; Jennifer
Smith, Miami University at Oxford; Debra L. Snyder, Livingstone College;
Jamieson Spencer, St. Louis Community College; Pam Stinson, Northern
Oklahoma College; Douglas Strayer, Henry Ford Community College; Sarah
Syrjanen, Florida State University; Jonathan Taylor, Ferris State University;
J. D. Thayer, Gonzaga University; Julie Tilton, San Bernardino Valley
College; Larry A. Van Meter, Texas A&M University; William Verrone,
University of North Carolina at Wilmington; Bradley Waltman, College of
Southern Nevada; Phillippe West, Concordia University; C. White-Elliott,
College of the Desert; Sharon Winn, Northeastern State University; Bertha
Wise, Oklahoma City Community College; Pauline G. Woodward, Endicott
College; Gulnar Zaman, Northern Virginia Community College; James H.
Zorn, Bergen Community College; and our anonymous reviewer from
Montclair State University.
Through all editions of Making Literature Matter, three things have
stayed the same: what matters most to John Schilb is Wendy Elliot; what
matters most to John Clifford is Janet Ellerby; and we dedicate this book to
them.

John Schilb, Indiana University

John Clifford, University of North Carolina at Wilmington

We’re All In. As Always.

Bedford/St. Martin’s is as passionately committed to the discipline of English
as ever, working hard to provide support and services that make it easier for
you to teach your course your way.
Find community support at the Bedford/St. Martin’s English
Community (community.macmillan.com), where you can follow our Bits
blog for new teaching ideas, download titles from our professional resource
series, and review projects in the pipeline.
Choose curriculum solutions that offer flexible custom options,
combining our carefully developed print and digital resources, acclaimed
works from Macmillan’s trade imprints, and your own course or program
materials to provide the exact resources your students need.
 Rely on outstanding service from your Bedford/St. Martin’s sales
representative and editorial team. Contact us or visit macmillanlearning.com
to learn more about any of the options below.
Choose from alternative formats of Making Literature Matter. Bedford/St.
Martin’s offers a range of popular e-Book formats. For details of our e-Book
partners, visit macmillanlearning.com/ebooks.
Assign LaunchPad Solo for Literature — the online, interactive guide to
close reading — at launchpadworks.com. To get the most out of Making
Literature Matter: An Anthology for Readers and Writers, assign it with
LaunchPad Solo for Literature, which can be packaged at a significant
discount. With easy-to-use and easy-to-assign modules, reading
comprehension quizzes, and engaging author videos, LaunchPad Solo for
Literature guides students through three common assignment types:
responding to a reading, drawing connections between two or more texts, and
instructor-led collaborative close reading. Get all of our great resources and
activities in one fully customizable space online; then use our tools with your
own content. To learn more about how you can use LaunchPad Solo for
Literature in your course, please see pages xv–xvi of this Preface.
Package one of our best-selling brief handbooks at a discount. Do you
need a pocket-sized handbook for your course? Package Easy Writer by
Andrea Lunsford or A Pocket Style Manual by Diana Hacker and Nancy
Sommers with this text at a 20 percent discount. For more information, go to
macmillanlearning.com.
Teach longer works at a nice price. Volumes in our literary reprint series
— Bedford College Editions, Bedford Cultural Editions, Case Studies in
Contemporary Criticism, Case Studies in Critical Controversy, the Bedford
Series in History and Culture, and the Bedford Shakespeare Series — can be
shrink-wrapped with Making Literature Matter: An Anthology for Readers
and Writers at a discount. For a complete list of available titles, visit
macmillanlearning.com.
Trade up and save 50 percent. Add more value and choice to your
students’ learning experiences by packaging their Bedford/St. Martin’s
textbook with one of a thousand titles from our sister publishers, including
Farrar, Straus and Giroux and St. Martin’s Press — at a discount of 50
percent off the regular price. Visit macmillanlearning.com/tradeup for
details.
Engage your students with digital assignments. Teaching Literature with
Digital Technology is a collection of digital assignments, each created by a
contributor in the fields of literature and composition. Edited by Seattle-based
scholar and teacher Tim Hetland and available as a print text or e-Book, this
resource for instructors invites students to become knowledge-makers as it
introduces creative uses of social media, digital tools, podcasts, multimodal
assignments, and digital archives to learn about literature. Sample
assignments can be viewed in the Professional Resources folder on the
Macmillan English Community site. To order the print text, use ISBN 978-1-
4576-2948-8; to order the e-Book, use ISBN 978-1-3190-7643-6.
Order content for your course management system. Content cartridges
for the most common course management systems — Blackboard, Canvas,
Angel, Moodle, Sakai, and Desire2Learn — allow you to easily download
Bedford/St. Martin’s digital materials for your course. For more information,
visit macmillanlearning.com.

PAIRING MAKING LITERATURE MATTER WITH LAUNCHPAD

SOLO FOR LITERATURE HELPS STUDENTS SUCCEED.
Available at a significant discount when packaged with Making Literature
Matter, LaunchPad Solo for Literature gets to the heart of close reading. It
offers a set of online materials that help beginning literature students learn
and practice close reading and critical thinking skills in an interactive
environment.
To package LaunchPad Solo for Literature, use ISBN 978-1-319-07191-2.

How can LaunchPad Solo for Literature enhance your

course?
IT HELPS STUDENTS COME PREPARED TO CLASS. Assign one of almost 500
reading comprehension quizzes on commonly taught stories, poems, plays,
and essays to ensure that your students complete and understand their
reading. For homework assignments, have students work through close
reading modules that will prepare them for lively, informed classroom
discussions.
IT GIVES STUDENTS HANDS-ON PRACTICE IN CLOSE READING. Easy-to-use
and easy-to-assign modules based on widely taught literary selections guide
students through three common assignment types:

Respond to a Reading Questions in the margins that refer to specific

passages in a publisher-provided literary work prompt students to read
carefully and think critically about key issues raised by the text.

Draw Connections Students read and compare two or more publisher-

provided texts that illuminate each other. Students can download these
texts, which have been annotated to highlight key moments and
contextual information, and respond in writing to a series of questions
that highlight important similarities and differences between and among
the texts.
 Collaborate on a Reading Instructors can upload their favorite text or
choose from over 200 publisher-provided texts to create a customized
lesson on close reading. Using the highlighting tools and Notes feature
in LaunchPad, the instructor can post notes or questions about specific
passages or issues in a text, prompting students to respond with their
own comments, questions, or observations. Students can also respond to
each other, further collaborating and deepening their understanding of a
text.

IT LETS YOU CREATE MULTIMEDIA ASSIGNMENTS ABOUT LITERATURE.

LaunchPad Solo for Literature enables you to embed videos, including
favorite selections from YouTube, directly into your digital course. Whether
you want students to analyze a Shakespearean scene, listen to W. B. Yeats
reading his poems, or compare The Great Gatsby in print and on film, the
tools are at your fingertips. You can annotate these videos for your students,
or ask them to leave their own comments directly on the video content itself.
Consider some of these assignment suggestions:

Create a Dialogue around an Assignment. Some projects are

complicated because they involve many choices and stages. Record
yourself explaining the project, and upload the video to the Video
Assignment tool. Require students to comment by asking a question or
by proposing a topic.
Critique a Video as a Group. Embed a video from YouTube or from
another source. In your assignment instructions, provide discussion
questions. Require students to add 2–3 comments on the video that
respond to the prompt. You may grade this assignment with a rubric.
Collaborate on Acting out a Scene from a Play. Although students most
often study plays as written texts, it can be fun and informative to have
them act out scenes for their classmates. Assign small groups of students
to record themselves acting out their favorite scene from a play and
upload the video for the class to watch. You can add your feedback and
comments directly on the video.
Compare and Share Poems Your Students Read Aloud. Sound is
essential in poetry, and how a poem is read can be as important to
understanding as the words themselves. Invite students to record
themselves — either using video or audio only — and share the results
with the class. Consider giving each student a “mood” for their reading,
so that the class can hear how different tones and interpretations affect
their response to the poem.

To explore LaunchPad Solo for Literature, visit launchpadworks.com.

Another random document with
no related content on Scribd:
The Project Gutenberg eBook of Biographical
sketch of Millie Christine, the Carolina Twin
This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this ebook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

Title: Biographical sketch of Millie Christine, the Carolina Twin

Surnamed the Two-headed Nightingale and the Eighth
Wonder of the World

Author: Anonymous

Release date: March 19, 2024 [eBook #73204]

Language: English

Original publication: Cincinnati: Hennegan & Co, 1912

Credits: Fay Dunn and The Online Distributed Proofreading

Team at https://www.pgdp.net (This file was produced
from images generously made available by The
Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK

BIOGRAPHICAL SKETCH OF MILLIE CHRISTINE, THE
CAROLINA TWIN ***
Biographical Sketch of Millie
Christine
 EIGHT WONDERS OF THE WORLD.

THE LIGHTHOUSE OF PHAROS.

Pharos was an island off the coast of Egypt, near Alexandria. It was famous for its
lighthouse, completed 280 B. C., built of fine white marble. Its light was visible
more than 40 miles. It existed 1600 years. Destroyed by earthquake.
 THE TEMPLE OF DIANA.

The Temple of Diana at Ephesus was 220 years in being built, was of imposing
richness, was 425 feet long, 225 feet broad, and supported by 127 columns of the
finest Parian marble, each column 60 feet high and weighing 150 tons—these
columns furnished by 127 Kings.

STATUE OF JUPITER.

The Colossal Statue of Jupiter in the Temple of Olympia at Elis was of gold and
ivory and sat enthroned 800 years, and was destroyed by fire about A. D. 475. An
imitation of the head is preserved in the British Museum.

THE COLOSSUS OF RHODES.

This statue was 105 feet high, and hollow, with a winding staircase to its head.
After standing 56 years, it was destroyed by an earthquake, 224 years B. C. It lay
for nine centuries on the ground. It is said to have required 900 camels to remove
the metal, hence it must have weighed over 700,000 pounds. It was erected to
express the gratitude of the City of Rhodes to their allies under the King of Egypt
against their enemy, the King of Macedon.

THE EIGHTH WONDER OF THE WORLD.

MILLIE CHRISTINA
The Carolina Twin
Born in Columbus Co.,
North Carolina
JULY 11th, 1851.

THE MAUSOLEUM OF HALICARNASSUS.

This structure was erected by Artemisia, who was the sister, wife and successor of
Mausolus, King of Caria, B. C. 353. It was a rectangular building, surrounded by
an Ionic portico of 36 columns, and surmounted by a pyramid rising in 24 steps,
upon the summit of which was a colossal marble quadriga, with a statue of
Mausolus.

THE PYRAMIDS OF EGYPT.

These were 70 in number. They were constructed of blocks of red granite and of a
very hard stone. These were of extraordinary size, and their transportation and
adjustment indicates a surprising degree of mechanical skill. The Great Pyramid
was supposed to have been erected about 3,800 years B. C., and is of the
enormous size of 746 square feet at its base, covering about 12 acres of ground,
and is over 450 feet high. It was probably erected as a burial place for the rulers of
Egypt.

THE HANGING GARDENS OF BABYLON.

These were built by Nebuchadnezzar to gratify his wife, Amytis, a native of Media,
and who longed for something to remind her of her mountain home. They
consisted of an artificial hill 400 feet square at the base, and rising in terraces to a
height which overtopped the walls of the city. These terraces were filled with
luxuriant vegetation of all kinds, even large trees, and were watered by a fountain
at the summit, fed with water drawn from the Euphrates.
 Southern California Railway Company. Passenger Department.
H. G. Thompson, Gen’l Pass. Agt.
H. K. Gregory, Ass’t Gen’l Pass. Agt.
Los Angeles, Cal., Jan. 30, 1895.
To Conductors, Los Angeles to Santa Ana, San Bernardino via Orange, San
Bernardino to Redlands, and Redlands to Los Angeles:
It is customary for Millie Christine, the dual woman, to require but one ticket.
Please be governed accordingly when Millie Christine is making a trip over any of
our lines as above indicated.
Yours truly,
H. G. THOMPSON, G. P. A.

The Pennsylvania Railroad Co.

Phila., Wilmington & Balt. R. R. Co.
Alexandria & Fredericksburg Railway Co.
Camden & Atlantic Railroad Co.
Northern Central Railway Co.
Baltimore & Potomac R. R. Co.
West Jersey Railroad Co.
Office, 233 South Fourth Street.
Passenger Department.
J. R. Wood, Gen’l Pass. Agent.
Geo. W. Boyd, Asst. Gen’l Pass. Agent.
Philadelphia, June 10, 1894.
Subject: Refunding extra fare.
J. P. Smith, Esq., Grand Central Hotel, New York City.
Dear Sir:
Referring to your call at this office a few days since I enclose herewith order No.
25286 on our Treasurer for $4.71, covering refund of extra fare paid from
Washington, D. C. to Philadelphia, June 4th, by Millie Christine, the dual woman, in
connection with one first-class ticket between same points, which the conductor
lifted on the ground that two fares were necessary to cover passage.
Please sign and return enclosed form of receipt, and oblige,
Very truly,
 GEO. W. BOYD, A. G. P. A., Wash.

Baltimore & Ohio Southwestern Railroad.

Passenger Department.
City Office, Southeast Corner Fourth and Vine Streets.
O. P. McCarthy, General Passenger Agent.

Chas. H. Koenig, District Passenger Agent.

Cincinnati, O., April 13, 1892.
Conductors B. & O. S W. and connecting lines:
This is to certify that Manager Smith has purchased three (3) tickets, Cincinnati
to New York, in connection with Millie Christine, the dual woman, this person being
included. It is customary to require but one ticket for her passage. Kindly be
governed accordingly.
CHAS. H. KOENIG, D. P. A., B. & O. S W.

Treasurer’s Office, T. H. Gibbs, Treasurer.

Columbia, Newburg & Laurens Railroad Company.
Columbia, S. C., Sept. 8, 1893.
Conductors S. A. Line and connecting lines:
This is to certify that J. P. Smith, Esq., has purchased three (3) tickets from
Columbia, S. C. to Lincoln, Nebraska, in connection with Millie Christine, the dual
woman, this person being included. It is customary to require one ticket for her
passage.
B. F. F. LEAPHART, Ticket Agent, C. N. & L. R. R.

Burlington, Cedar Rapids and Northern Railway.

Local Freight and Ticket Office.
A. F. Pilcher, Agent.
Sioux Falls, So. Dak., Oct. 5, 1895.
To Conductors:
It is customary to carry Millie Christine on one ticket.
Respectfully,
A. F. PILCHER, Agt.
 BIOGRAPHICAL SKETCH
OF

M I L L I E C H R I S T I N E,
THE CAROLINA TWIN,

SURNAMED

THE TWO-HEADED NIGHTINGALE,

AND THE

EIGHTH WONDER OF THE WORLD.

“None like me since the days of Eve—

None such perhaps will ever live”—Except Christine Millie.

At each Levee Millie Christine will sing some of the songs

and duets which will be found at the end of the book.
Hennegan & Co., Print. Cincinnati. O.
 SOUTHERN RAILWAY COMPANY,
Office of Division Passenger Agent.
R. W. Hunt, D. P. A.
S. H. Hardwick, G. P. A., Washington, D.C.
W. H. Tayloe, A. G. P. A., Atlanta, Ga.
Charleston, S. C., December 13, 1902.
To Conductors:—It is customary for Millie Christine, the dual woman, to travel
on one ticket. Please be governed accordingly when she is traveling over the
Southern Railway.
Yours very truly,
R. W. Hunt, D. P. A.

ATLANTIC COAST LINE,

Traffic Department.
T. H. Emerson, Traffic Mgr.
H. M. Emerson, G. F. & P. A.
Wilmington, N. C., December 10, 1897.
To Conductors:—Millie Christine, the dual woman, is transported over these
lines for one ticket, notwithstanding the fact that she has two heads.
Yours truly,
H. M. Emerson, G. P. A.

BALTIMORE AND OHIO RAILROAD,

Passenger Department.
John K. Cowen and Oscar G. Murry, Receivers.
S. B. Hege, D. P. A.
H. R. Hoser, Ticket Ag’t, 619 Pennsylvania Ave.
Washington, D C., June 9, 1898.
Conductors B. & O. R. R.:—This is to certify that Manager Smith has purchased
four tickets Washington, D. C. to Zanesville, Ohio, in connection with Millie
Christine, the dual woman, this person being included. You will accept one ticket
for the passage of Millie Christine.
 Yours truly,
Per S. B. H., D. P. A.
J. M. Schryver, G. P. A.

PLANT SYSTEM OF RAILWAYS.

B. W. Wrenn, P. T. M.
Savannah, Ga., November 22, 1900.
To Conductors:—It is customary for Millie Christine, the two headed woman, to
travel on one ticket. You will please govern yourselves accordingly.
Yours truly,
B. W. Wrenn, P. T. M.

SEABOARD AIR LINE RAILWAY.

To Conductors:—It is customary for Millie Christine, the two headed woman, to
travel on one ticket. You will please govern yourselves accordingly.
Yours truly,
A. O. MacDonell, A. G. P. A.

ATLANTIC VALDOSTA & WESTERN RAILWAY,

Traffic Department.
Smith D. Pickett, G. F. & P. A.
Jacksonville, Fla., November 30, 1900.
To the Conductors, A. V. W. Ry.:—It will only be necessary for Millie Christine,
known as the Dual Woman, to present one ticket for her passage over our line.
S. D. Pickett, G. P. A.

SOUTHERN RAILWAY COMPANY,

Office of Traveling Passenger Agent.
W. A. Turk, G. P. A., Washington, D. C.
C. A. Benscoter, A. G. P. A., Chattanooga, Tenn.
John C. Lusk, T. P. A.
Selma, Ala., January 11, 1901.
To Southern Railway Conductors:—It is the custom for Millie Christine, the dual
woman, to travel on one ticket. Please be governed accordingly.
Yours very truly,
J. O. Lusk, T. P. A.
 SKETCH OF THE LIFE
OF

THE CAROLINA TWIN.

T h e Tw o - H e a d e d L a d y, t h e D o u b l e -
To n g u e d N i g h t i n g a l e , t h e E i g h t h
Wonder of the World, the Puzzle
of Science, the Despair of
D o c t o r s , t h e D u a l U n i t y.
All of these names has she earned at various times, with the final
title which we claim for her in defiance of any other or others:

The Most Wonderful Being Alive.

There are giants and giants, dwarfs and dwarfs, fat men and
women, living skeletons of both sexes, hirsute monsters and
baldheads by the century; there are marvels of nature, science and
art, of all which the world knows; but there can only be one
Nonpareil, one Unequalled, and that is the subject of our brief
sketch, for only one living creature is like Millie Christine, and her
name is Christine Millie.
But, says the curious reader, was there ever such another heard
of before?
 Only one is on record, attested as a fact, and leaving out of the
question fabulous monsters. The first year of the eighteenth century
witnessed the birth of a similar phenomenon in Hungary, the sisters
Helen and Judith, born in the year 1701. These girls were united at
the lower part of the body only, and were perfectly distinct beings in
every way. Helen was larger, stronger, and better-looking than
Judith, besides being much more active and intelligent. These girls
lived to their twenty-second year, when Judith fell sick and died,
Helen following her within a few minutes of her demise. And all this,
you remember happened more than a century since, so that it takes
Nature a hundred years at least to produce such a marvel again.
Helen and Judith died at twenty-two years of age, while Millie
Christine still lives, healthy and happy, at thirty-eight, and bids fair to
attain a ripe old age as easily as less wonderful beings. The
following pages, confined to a simple record of the facts in her
career, will therefore prove of interest and value.
Miss Millie Christine, or Christine Millie, was born of slave
parents, on the plantation of Mr. Alexander McCoy, near the town of
Whiteville, Columbus County, North Carolina, on July 11, 1851. At
her birth her mother was in her thirty-second year. She was a
handsome woman, finely formed and in excellent health. Millie
Christine’s father, of Moorish descent, slender and sinewy, with the
powerful activity characteristic of his race. Prior to the birth of Millie
Christine, her mother had borne seven other children, five boys and
two girls, all of ordinary size, with no peculiarities of conformation,
and some of them are still alive.
The wonder of the family, Millie Christine, weighed seventeen
pounds when she entered the world, and, although her mother was
only attended by a colored midwife, no serious consequences
attended such a remarkable birth.
But, when the child was once fairly in the world, how rumor flew
about the township of Whiteville, and spread from thence over the
whole country! “Have you seen the girl?” was the first question asked
of every one by every one, and pilgrimages to visit her became all
the rage in the country side.
 The old nurse who had superintended her introduction into this
world was doubtless awestruck at the anomalous and wonderful
addition she had made to her master’s property, and not unnaturally
prided herself on having assisted Nature to produce a phenomenon;
but the master himself, and his amiable lady, without stopping to
question the designs of Providence, immediately surrounded the
extraordinary infant with such care and attention as enabled it to
thrive and grow. The dual-headed child was taken from the cabin to
the mansion, and Mr. McCoy’s family commenced then a course of
care and attention to her health and welfare.
During the first eighteen months of her life nothing of importance
occurred to Millie Christine worthy of note. She grew as other girls
grow, learned to walk at twelve months old, was of a lively and
agreeable disposition, and at fifteen months began to talk with both
her mouths. She was cheerful and active as any girl of her age, with
every appearance of robust health. Her vivacity and goodness,
together, no doubt, with her peculiar formation, rendered her the
almost idolized of the mother and a general favorite of both old and
young, and every attention and kindness was bestowed upon her.
At this time Mr. McCoy, being a man in very moderate
circumstances, a plain farmer, thinking the girl would become a
burden to him, and annoyed with the frequent visits of strangers to
see her, determined to dispose of her. He was not long in finding for
her a purchaser, a person of the name of Brower, who offered
$10,000 for her, seeing the possibilities of the child in the way of an
exhibition. But inasmuch as this Brower was not possessed of the
requisite cash to back his faith, and only offered to give a note of
hand for the purchase money, Mr. McCoy naturally desired some
responsible person to whom to look for the money in case of the
non-payment of the note when due. This person was ultimately
found by Brower in Joseph P. Smith, of Wadesboro, North Carolina,
and Mr. McCoy finally parted with Millie Christine, in consideration of
Brower’s note for $10,000, endorsed by Mr. Smith.
The happy Brower, in full possession of his prize, at once
departed for New Orleans, in obedience to a request from the
medical faculty of that city asking that she be brought there for a
scientific examination.
Rooms were taken and every preparation made for the
contemplated examination, after which she was to be placed on
public exhibition. It had been arranged, prior to their leaving home,
that their presence in the city should be kept as quiet as possible, as
the desire to see her would undoubtedly be very great and might
interfere with the examination. This precaution was not strictly
regarded, and soon the rooms and the passages leading thereto
were literally besieged with anxious crowds of people eager to get a
sight of her.
The examination, however, at length took place and proved most
satisfactory, every physician in attendance concurring in pronouncing
her Nature’s greatest wonder. Being endorsed by the medical faculty,
she was now put on public exhibition, but from want of proper
management she succeeded but indifferently.
Mr. Brower, being quite ignorant of the business he had
undertaken, despaired of success after a few more efforts. About this
time he became acquainted with a certain adventurer who hailed
from Texas and boasted of his immense tracts of land in that State.
This swindler proposed to purchase the girl by giving for her lands, at
a fair market valuation, to the amount of forty-five thousand dollars,
and Brower, having full confidence in the would-be millionaire,
concluded the bargain by giving possession of the girl, and was on
the following day to receive the deeds in due form. The day arrived,
but neither the Texan nor the deeds were forthcoming, and then for
the first time the unpleasant fact broke upon him that he had been
completely duped. To gain some knowledge of her whereabouts was
now his first effort; but so adroitly was everything pertaining to her
abduction managed that no clue to her, or even the direction she had
been carried, could be gained, and every effort for a time to learn
anything of her proved futile.
Mr. Brower, after weeks of useless search, becoming convinced
that, for the present, further efforts to regain her would only prove
useless, determined to return to North Carolina and impart to Mr.