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1000 l MULTIDENOMINATIONAL MOVEMENTS—MUSIC AND THE ARTS rican American Hymnal (1993). Austin Lovelace, The Anatomy of Hymnody (1965). John Lovell, Jr., Black Song: The Forge and Flame: The Story of How the Afro-American Spiritual Was Hammered Out (1972). David Mahsman, “Clancy Still Hopes for CPH (Concordia Publishing House) Hymnal Role. An Example of a Hymn That Failed Doctrinal Review,” http:// www.cuis.edu/ftp /lcmsnews/999710-AFRICAN_AMERICAN _HYMNAL_SUPPLEME.NT-980402. Margaret Allison & The Angelic Gospel Singers, http://www.malaco.com/gospel/ angelics/main.html. William B. McClain, Come Sunday: The Liturgy of Zion (1990). Rachel C. Murphree, Paul G. Partington , and Dr. Udo, “Mahalia Jackson, 1911–1972” (1996), available online at http://www.lib.edu/soc/women/lawomen/ jackson.htm. Skladny, “Biographies of People of the World,” October 2000, http://www.philately.com/philately/biomarmaz .htm. Bernice Johnson Reagon, ed., We’ll Understand It Better By and By (1992). Songs of Zion, Supplemental Worship Resources 12 (1981, 1982). Eileen Southern, Biographical Dictionary of Afro-American and African Musicians (1982). Jon Michael Spencer, “The Hymnology of Black Methodists,” Theology Today 46 (January 1990): 373–385; Black Hymnody: A Hymnological History of the African-American Church (1992); and Sing A New Song: Liberating Black Hymnody (1995). Emilie Townes, Embracing the Spirit: Womanist Perspectives on Hope, Salvation & Transformation (1997). “Voices for God: The Gospel Music Hall of Fame and Museum Founders Celebrate Music and Their Faith in Life,” Detroit News, October 13, 1999, http://detnews.com/1999/detroit/9910/17/10130119.htm. Wyatt Tee Walker, The Soul of Black Worship: A Trilogy—Preaching , Praying, Singing (1984). Also see Portia K. Maultsby, “The Evolution of African American Music” (1988), a poster tracking African American music from its African musical roots of the 1600s to the contemporary gospel, house music, rap, techno funk, go-go, and new jack swing of the 1990s. WOMEN’S NOVELS AND RELIGION, 1780–1900 Diane Capitani TO BEGIN A study of American women’s novels and religion with a brief mention of a British novel, Pamela by Samuel Richardson, published in 1741, may seem out of place. This reference is important, however, because Richardson is recognized as the author of a new type of narrative writing, domestic fiction, a form that would be adopted and adapted by American women writers, eager to speak in their own voices in the New World. Richardson’s novel had within it echoes of English religious works, particularly those that called for intense self-examination. His novel called attention to class struggles, to gender issues, to the rights of the individual versus society. More important, the story was of a young servant girl who resists attempts at seduction made by her master and who gains a voice through the written word: her letters to her parents. This was a sentimental novel of sorts, and it can be argued that Pamela laid the foundation for the sentimental novel of the nineteenth century in America. It is also the story of a captive, a fifteen-year-old literally held captive by “Mr. B.,” the son of her late mistress. While not the type of captivity narrative that would surface in America, nonetheless it gave a grounding for works about women held against their will. Pamela speaks out vigorously, even asking in her letters, “How came I to be his Property?” How indeed? The same question was asked later in America by those kept as slaves in the South. Pamela resists seduction, Mr. B. finally marries her and all is well, but the reader has been titillated, has experienced deep swells of emotion, and has learned the moral lesson that virtue is rewarded. Pamela’s voice is a sound one, and she opens the way for a genre of novel that will give later American women their best opportunity to be heard in the public sphere. In the New World, in 1682, the first bestseller written by a woman was Mary Rowlandson’s narrative of being taken prisoner during King Philip’s War and held captive for four months. Later, she wrote her narrative of this experience, the first woman to do so, encouraged, she claimed, by her friends, although her husband disapproved . Like others that followed in the seventeenth and early eighteenth centuries, her narrative was a spiritual biography, written for the moral instruction of the reader. Rowlandson’s story, “The Narrative of The Captivity and Restoration of Mrs. Mary Rowlandson,” shaped the genre and became the paradigm for all later accounts of captivity and dreaded...

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