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In Private Women, Public Stage, Mary Kelley evokes the lives and works of these pioneering American women novelists whom she calls «literary domestics» for «in both their published prose and their previously neglected letters, diaries, and journals these women reported on their own phenomenon and became unwitting witnesses to both the public event and their own private experiences» 1 . Kelley begins her book by quoting a letter to her sister by Caroline Howard (soon to be known as «Caroline Howard Gilman»), which focuses on the figure of a lady singer, Mrs French: «Her public concerts are marked by this peculiarity that she enters the room with a private party, for she is greatly noticed, and seats herself with the other ladies. When the company has assembled, she is led to the piano by private gentlemen of the first respectability, and after every song, again takes her place among the ladies, one of whom keeps a shawl ready to throw over her » 2 . Kelley sees this report as «striking» and argues that Gilman «had unknowingly foretold her own future as much as she had told about the lady singer, and had foreshadowed a peculiar phenomenon in nineteenth-century American society» 3 . Later in her introduction, she analyzes the excerpt at length and adds this telling commentary: «Without realizing it, Caroline Howard had implied as much in her description of the lady singer, who remained in her eyes a private domestic woman. The witness, soon to be a writer, set the scene in the presentist language of a novelist, set the scene and made it appear timeless and unchanging. The lady singer enters

«Public women, private stage?» : the debate on «separate spheres» in Victorian women’s «actress novels»