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Introduction
- Utah State University Press
- Chapter
- Additional Information
1 Introduction Martha Bradley-Evans Importance of the Document I grew up in Salt Lake City, Utah in the 1950s in a subdivision of ranch style homes at the foothill of Mount Olympus. Our family had one father and one mother, three brothers and myself, the sole and lonely sister. We were Mormons. We read the Bible and the Book of Mormon. We sang the hymns, “The Spirit of God Like a Fire is Burning” and “Come, Come Ye Saints” with all the fervor of the righteously indignant. The persecution narrative of our pioneer forefathers and mothers inscribed our memory. Their story was in us, their journey our journey. On the other side of the valley, a Mormon girl of similar age— Dorothy Allred—grew up in a very different household. Although our parents and teachers would have taught us much of the same wisdom and we might have testified to the same beliefs, our familial structure could not have been more disparate. For my three brothers, she had four; but her half brothers and sisters numbered forty-four more. Although her mother’s only daughter, a position I shared, Dorothy was one of many to her father in a family of towheaded blondes with blue eyes that mirrored the sky. Her mother, Mabel Finlayson Allred, was the fourth wife to Rulon C. Allred, the head of a group of Mormon Fundamentalists who lived subterranean lives just beneath the surface of respectable mainstream culture . Their lives were rich and full, but lived where outsiders could not observe. They were private, inclusive and dedicated to God. Editorial Policies This text contains a remarkable consistency of voice and allows the reader to experience a rich sense of Mabel Finlayson Allred’s personality. One can almost hear Mabel speak as words are read. The provenance of the document itself is complex and layered with the soft touch of family. Mabel began thinking about her autobiography soon after her twin sister Melba’s death in 1998. The first volume 2 Plural Wife she produced is dated both 2000 and 2001. The second volume is dated 2001, 2002, 2003, and 2004. When she completed her writing in 2004, she gave the hand written document to her daughter-in-law Bonnie Allred who typed it, made some adjustments in grammar, style, language and even added some new stories, dates and names for clarification. Mabel edited that version, made changes and wrote editorial notes—inserts that she wanted included in the final draft. A second typed version included subheadings. These inserts and comments are included in this version of the text of the autobiography. The document itself provides another kind of evidence about Mabel Allred. It was written on simple lined paper in pencil, the kind a child would take to school in a notebook. Her daughter Dorothy recalled, “She had lovely handwriting. And even at her age, she was very meticulous.”1 Mabel talked with Dorothy about the changes she wanted made in the first typed version and urged her to ensure that the final version reflected Mabel’s own words, expressive spirit and intent. After these conversations and understanding her mother’s desire to get it right, Dorothy and her brother, Jerry, edited the document and inserted the changes that Mabel requested. The result was a typed third version that again included a combination of original text, editorial changes and elaborations, and the handwritten changes Mabel had requested. After considering the original hand written copy, the various typed versions including the third with Dorothy and Jerry’s editorial changes, I made the editorial decision to return to the original and to include the changes Mabel penciled in on the first typed version which provided clarification to her original document. I have made only occasional and minor changes in punctuation. The original handwritten document, and the penciled in comments on the typed draft produced by her children, are Mabel’s own words and form the content of this autobiography rather than interpretations or edits of the autobiography by others. My decision was complicated by the fact that at least three individuals, possibly four, worked on the document after Mabel produced it, resulting in a manuscript quite different from the one initially envisioned. In the spirit of capturing her own authentic voice, rhythm and style, I have tried to peel back those layers of change and return to her original choice of words, emphases and intent. At points, I add words in brackets to help the flow...