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32 pages 1 hour read

Sarah Orne Jewett

A White Heron

Fiction | Short Story | Adult | Published in 1886

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Background

Authorial Context: Sarah Orne Jewett

Sarah Orne Jewett (1849-1909) was born in South Berwick, Maine, where she lived her entire life. She was a foundational figure in American literary regionalism, a style that emphasizes setting and specific place-based features, such as customs, history, dialect, and landscape. Her writing is sometimes categorized as Romantic as it centers on nature and common people, idealizes women, and embraces emotion, isolation, and melancholy. “A White Heron” is one of her many works of regional color with ecological themes, though it is more fantastical than her typical realism, particularly when Sylvia hears the pine tree speak to her.

As a girl, Jewett developed rheumatoid arthritis. Her father, a doctor, suggested frequent walks to ease pain, swelling, and stiffness. These recurring walks not only helped Jewett’s mobility but also instilled in her a love of nature. Jewett’s adoration of the natural world, particularly Maine’s seaside, is evident in stories like “A White Heron” and her most acclaimed novel The Country of the Pointed Firs.

Educated at Berwick Academy, Jewett graduated in 1866. In 1868, at age 19, she published her first story, “Jenny Garrow’s Lovers,” in the Atlantic Monthly. Jewett’s influence increased with her 1896 novel The Country of the Pointed Firs, acclaimed for its character development; the novel examines isolation and hardship among the inhabitants of Maine’s decaying fishing villages.

In 1901, Jewett became the first woman granted an honorary doctorate of literature from Bowdoin College. Her oeuvre includes A Country Doctor, a novel about her father and her ambitions for a medical career; A White Heron and Other Stories, a collection named after her celebrated story “A White Heron”; three children’s books; and works of poetry. Her poems were collected and published after her death in a volume titled Verses (1916).

After a carriage accident in 1902 that left her injured, Jewett’s writing career ended. She died of a stroke in 1909. In Jewett’s obituary, the Boston Globe cited the power that lay in “the detail of her work, in fine touches, in simplicity” (Lockhart, Kristy. “Sarah Orne Jewett.” Boston Atheneum, 14 Apr. 2014). Feminists have reclaimed her work as subverting the classic fairy tale archetype, for her female heroines in stories like “A White Heron” deny the “prince” his wishes.

Jewett wrote about a rejection she received for “A White Heron”: “Mr. Howells [of the Atlantic Monthly] thinks that this age frowns upon the romantic […] It must be the fault of the writers that such writing is dull, but what shall I do with my ‘White Heron’ now she is written? She isn’t a very good magazine story, but I love her, and I mean to keep her for the beginning of my next book” (“‘A White Heron’: Sarah Orne Jewett (1849-1909).Story of the Week, Library of America). Jewett indeed kept “A White Heron” and named her short story collection after it.

Ecological Context: Regionalism and Local Color

American literary regionalism was a movement that emphasized setting and specific place-based features, such as customs, history, dialect, and landscape. Like many of Jewett’s stories, “A White Heron” occurs in the countryside of coastal Maine. Place takes precedence, as the plot, dialogue, incidents, and characterization could not develop in a different landscape. The white heron’s habitat is integral to the plot, and the bird’s homeland is reflected realistically. White herons, also known as great egrets, primarily live in Florida and the Gulf Coast but migrate as far north as Maine in the summer; the text accurately shows the bird appearing in Maine in June.

White herons live in marshes, ponds, shorelines, and mudflats that are also accurately depicted in the story. The birds commonly venture into open areas looking for fish. Jewett portrayed the white heron correctly by stating it nested in shrubbery near the water. One reason the bird was rare in Jewett’s time is that its feathers were sought for hats and other garments, decimating its population in the late 19th century. Conservation efforts saved the bird from extinction.

The dialogue and customs in the story also showcase regionalism. Mrs. Tilley speaks with a dialect that uses misspellings, unique word choices, and interesting sentence structure. Words like “squerl’s” and “ain’t” are part of her vernacular. The customs of Sylvia and her grandmother’s farm life, such as milking the cow, feeding hens, and cooking, are illustrated as well. Their pastoral life features independence and living off the land amicably with nature. Further, Mrs. Tilley follows the custom of assisting one’s family when she takes Sylvia to her farmstead to live, instead of letting the child suffer in the city. Though Mrs. Tilley needed help on the farm, Sylvia thrives in an environment better suited to her introverted personality. The custom of hospitality is apparent when Mrs. Tilley welcomes the stranger, the ornithologist, into their home.

Historical Context: Industrial Revolution and Conservation Movement

The Industrial Revolution was a period of economic development in the 18th century that replaced animal-powered agriculture with water- and steam-powered manufacturing as the basis of the economies of Europe and the United States. New manufacturing processes like the assembly line and technologies like the railroad completely transformed economic, social, and political life. Although economic productivity and aggregate wealth exploded during this period, they brought with them growing inequality, pollution, urban slums, and extreme economic exploitation.

In opposition to the pollution and habitat destruction brought by the Industrial Revolution, the conservation movement of the 1800s aimed to preserve natural resources and protect threatened species and ecosystems. Gradually, federal and state governments in the US protected forests and other ecosystems throughout the country and began protecting endangered species. The National Park Service cites three major historical strands of “conservation thinking” that developed during this period: “utilitarian conservation (natural resource management), preservationist conservation (preserving scenic nature), and wildlife habitat protection” (Chapman, Ann E. “Nineteen Century Trends in American Conservation.” National Park Service). The conservation movement peaked between 1850 and 1920, when Jewett was writing regionalist pieces. Conservation efforts led to the creation of numerous organizations, including the Nature Conservancy and World Wildlife Foundation.

With its themes of ecology and the individual’s role in nature, Jewett’s story reflects the conservation movement. Her writing advocates for a simpler life, free of urban features like factories, and argues against destroying wilderness for human profit. In her writing, including “A White Heron,” readers identify her veneration of the natural environment and belief that wilderness is beneficial to people’s health. Today, the white heron after which Jewett’s story is named is the symbol of the National Audubon Society.

Literary Context: Revisionist Fairy Tale

Sylvia is the young “princess” akin to others such as Snow White, Cinderella, and Rapunzel. These heroines typically live without their parents or friends in an isolated, wilderness setting and have animals as their companions—until a prince arrives, and whisks her away to marry him. Sylvia fits many fairy tale tropes: She lives without her biological parents, calls only the farm animals and wild creatures friends, and lives in isolation in a rural setting. When the “handsome” hunter arrives, she’s smitten and thinks he’s “so well worth making happy” that she wants to find the white heron for him (679).

Yet Jewett’s story subverts traditional fairy tale tropes. Until her moment of epiphany at the pine tree’s summit, Sylvia plans to sacrifice the heron to earn the hunter’s affection. But then Jewett rewrites the fairy tale to subvert expectations; Sylvia changes the trajectory of the traditional plot when she denies the hunter, her prince, his goal. Unlike other princesses and “happily ever after” plots, Sylvia doesn’t abandon her home to marry the prince. She values the woods and her independence more than the affection of the hunter. From this perspective, the white heron is her “prince,” a representation of the natural world and her “true love,” to which she remains loyal.

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