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ITH ominous lines like these, Rebecca Harding Davis opened her short novel Life in the Iron Mills ( 1861 ), asked her readers to peer out of their genteel and sterile drawing rooms, and introduced the proletarian world of Hugh Wolfe. Published in James Fields's The Aûantic Monthly in April, 1861, her story garnered even Hawthorne's and Emerson's attention. Republished by Tillie Olsen in 1972, it attracted notice as a point of origin for social realism, a stunning depiction of class inequities, and a complex feminist text.1 A Cultural Edition of contextual documents and her recently republished, supplemented autobiography have enabled fresh approaches to her work. Seldom have "mud and foul effluvia" proven so inviting for so many readers.

Shaping a Body of One's Own: Rebecca Harding Davis's Life in the Iron-Mills and Waiting for the Verdict