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At the turn of the twentieth century, America was graced by three women writers who created—among other things—superior ghost stories. The greatest is Edith Wharton, but she was preceded by Sarah Orne Jewett and Mary E. Wilkins Freeman. These two are often lumped together as “regionalists” or “local colorists” who depict the difficult lives of single women in a vividly imagined New England. This lumping is unfair to both, but more damaging to Freeman, whose distinctive work—only slightly inferior to Jewetts in style—is often ignored.Whereas Jewett wrote of the friendships of confident middle class women living in the beautiful but harsh coastal communities of Maine, Freeman wrote of lower middle-class women in straitened circumstances—farm widows and spinsters, seamstresses and teachers—living in unremarkable towns and villages of Massachusetts and Vermont. Jewetts heroines seem more like contemporaries, but Freemans are more representative of their time, and—at least to this reader—equally admirable and even more appealing. Indeed, her heroines financial difficulties often force them to confront power relationships in ways that evoke the later, more complex work of Wharton.Mary E. Wilkins grew up in Randolph, a small Massachusetts mill town bordered by farms. Her father was a home-builder, and both her parents were strict Calvinists, the kind who viewed prosperity as a reward for virtue. When hard times came to Randolph, the Wilkins moved to Brattleboro, Vermont—another small mill town--to open a dry-goods store. Luckily for Mary, her fathers business was next to a bookstore. Not so luckily, her home was also a hundred feet away from the Insane Asylum, from which inmates were permitted to wander during the day, some of them ending up at the Wilkins place. (In “A Gentle Ghost,” the asylum has been transformed into a ”poor house,” and Mary Wilkins into Flora Dunn, the little girl sitting on the front steps.)After college, Marys life became complicated. She tried teaching, later art, before deciding on writing. Her progress in the profession was slow; too slow, for her family was in dire straits. In 1877, when Mary was twenty-five, her father lost his store, and the Wilkins were forced to move in with the Reverend Tyler, who employed Marys mother as a housekeeper. For her parents, who saw poverty as a proof of sin, this was humiliating, but it was even more difficult for Mary. She had been in love with the Reverend Tylers son Hanson for five years, and now this young man—who made it clear he had no romantic interest in her—was fully aware of the Wilkins financial failures. In 1880, Marys mother died, and the Wilkins left the Tylers. Fortunately, Mary was now able to support both her father and herself with her income from writing. Throughout the next two decades, her work gained in power and popularity, but she never stopped carrying a torch for Hanson Tyler—even when, in 1892, she learned he had married another. In 1902, at the age of fifty, Mary Wilkins agreed to marry her beau of ten years, the alcoholic Dr. Freeman. By this time she had returned to Randolph, where she was living with a childhood friend, but she uprooted herself and moved to the doctors native New Jersey, where--she said--she had “not a blessed thing to write about.” Her literary output increased (the doctor encouraged a high productivity rate, for he desired the income), but the quality of her work declined. Dr. Freemans drinking increased as well, and he was committed to an asylum for the insane in 1922. After his death, in her seventies, Mary still spoke wistfully of Hanson Tyler.Wilkins Freemans ghost tales are realistic, and therefore her ghosts are credible. They scare us not because they are shocking, but because we believe them to be true. All twelve tales here are satisfactory, except for the last (The Jade Bracelet,” a piece of naïve, provincial Orientalism.) Seven of the remaining eleven are excellent: “The Hall Bedroom” (a surreal world reveals itself through one wall of a room in a lodging house), “Luella Miller” (a psychic—perhaps actual?--vampire preys on her neighbors), “The Vacant Lot” (a twist, in which the cliché “house-bought-cheap” is not haunted, but overlooks a vacant lot full of ghosts), “The Wind in the Rose Bush(featuring an abusive step-mother and a marchen-like distortion of time), “The Gentle Ghost” (which begins with a ghostly-little-girl-in-a-graveyard, but shifts viewpoint and turns into something else entirely), “The Southwest Chamber” (ghosts, boarding house economics, and the hard truths of families), and “The Lost Ghost” (a delicately moving tale of an abused little ghost who finds, in death, a little love.)
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