Abstract:While critics may wrestle with Huckleberry Finn's role in the American canon – including what Hemingway meant by singling it out for praise – they usually agree that Huck sounds as lifelike as "a real boy talking out loud." Yet Twain himself believed that "the moment 'talk' is put into print" it turned into a "corpse." His solution was a specifically written mode of 'talk,' severed from its origins in speech so as to belong on the page rather than in anyone's mouth. For Hemingway, Twain provides a model for overcoming the problem of artificial dialog not because his printed talk sounds just like the real thing, but because it's no longer primarily trying to. And when Hemingway himself composes dialog that displaces what was 'really' said somewhere off the page, using a kind of purported translation that Ben Lerner has termed "virtualization," he reveals Twain as an unexpected source of American literary modernism – and of modern nationalism as well. That is, since Huck's language derives from oral catchphrases rooted in racialized dialect, his voice transforms the kind of minority speech associated with the country's deepest divisions into the kind of literary language that everyone could recognize as "purely American."
{"title":"Twain's Modernism: The Death of Speech in Huckleberry Finn as the Birth of a New Aesthetic","authors":"Mika Turim-Nygren","doi":"10.1353/jnc.2020.0004","DOIUrl":"https://doi.org/10.1353/jnc.2020.0004","url":null,"abstract":"Abstract:While critics may wrestle with Huckleberry Finn's role in the American canon – including what Hemingway meant by singling it out for praise – they usually agree that Huck sounds as lifelike as \"a real boy talking out loud.\" Yet Twain himself believed that \"the moment 'talk' is put into print\" it turned into a \"corpse.\" His solution was a specifically written mode of 'talk,' severed from its origins in speech so as to belong on the page rather than in anyone's mouth. For Hemingway, Twain provides a model for overcoming the problem of artificial dialog not because his printed talk sounds just like the real thing, but because it's no longer primarily trying to. And when Hemingway himself composes dialog that displaces what was 'really' said somewhere off the page, using a kind of purported translation that Ben Lerner has termed \"virtualization,\" he reveals Twain as an unexpected source of American literary modernism – and of modern nationalism as well. That is, since Huck's language derives from oral catchphrases rooted in racialized dialect, his voice transforms the kind of minority speech associated with the country's deepest divisions into the kind of literary language that everyone could recognize as \"purely American.\"","PeriodicalId":41876,"journal":{"name":"J19-The Journal of Nineteenth-Century Americanists","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/jnc.2020.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72478633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Late nineteenth-century Americans struggled to conceptualize global capitalism and their own position within it, negotiating the divide between abstract totality and what Fredric Jameson describes as "our particular path through the world." For Jameson and others, this negotiation entailed "overcoming" epistemic disjuncture in a quest for synthesis, a gradual process of mapping continuity with encompassing networks. This essay shows how different the project of global becoming appears from the perspectives of women who organized, wrote about, and exhibited in the Woman's and Colored Departments at the 1884 New Orleans World's Fair. Hailed as "the world's university," the Exposition provided a disciplinary apparatus for producing global subjects that women inhabited in self-conscious ways. Looking at Julia Ward Howe's ironic juxtaposition of Internationalist Womanhood with women's industrial works, Mary Ashley Townsend's aggressively sectionalist cosmopolitanism, and Sarah Shimm's (literally) embroidered history of Toussaint L'Ouverture, I argue these reveal an orientation to the disjuncture between global totality and subjective immediacy that is self-referential and playful. They re-frame the project of becoming global as a shared cultural problematic (rather than psychological impasse) and as self-production (rather than self-insertion), illuminating the gendered and racialized dynamics that mediate access to global identity.
{"title":"Becoming Global: Gender, Race, and Cognitive Mapping at the 1884 World's Fair","authors":"Katherine Adams","doi":"10.1353/jnc.2020.0005","DOIUrl":"https://doi.org/10.1353/jnc.2020.0005","url":null,"abstract":"Abstract:Late nineteenth-century Americans struggled to conceptualize global capitalism and their own position within it, negotiating the divide between abstract totality and what Fredric Jameson describes as \"our particular path through the world.\" For Jameson and others, this negotiation entailed \"overcoming\" epistemic disjuncture in a quest for synthesis, a gradual process of mapping continuity with encompassing networks. This essay shows how different the project of global becoming appears from the perspectives of women who organized, wrote about, and exhibited in the Woman's and Colored Departments at the 1884 New Orleans World's Fair. Hailed as \"the world's university,\" the Exposition provided a disciplinary apparatus for producing global subjects that women inhabited in self-conscious ways. Looking at Julia Ward Howe's ironic juxtaposition of Internationalist Womanhood with women's industrial works, Mary Ashley Townsend's aggressively sectionalist cosmopolitanism, and Sarah Shimm's (literally) embroidered history of Toussaint L'Ouverture, I argue these reveal an orientation to the disjuncture between global totality and subjective immediacy that is self-referential and playful. They re-frame the project of becoming global as a shared cultural problematic (rather than psychological impasse) and as self-production (rather than self-insertion), illuminating the gendered and racialized dynamics that mediate access to global identity.","PeriodicalId":41876,"journal":{"name":"J19-The Journal of Nineteenth-Century Americanists","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83682533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"On Our Cover: Severin Roesen Still Life with Flowers and Fruit","authors":"","doi":"10.1353/jnc.2020.0002","DOIUrl":"https://doi.org/10.1353/jnc.2020.0002","url":null,"abstract":"","PeriodicalId":41876,"journal":{"name":"J19-The Journal of Nineteenth-Century Americanists","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82972797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Learning from June Jordan and Walt Whitman (and from Las Vegas, too): Notes on Inclusivity and Borders","authors":"Kerstin Schmidt","doi":"10.1353/jnc.2019.0013","DOIUrl":"https://doi.org/10.1353/jnc.2019.0013","url":null,"abstract":"","PeriodicalId":41876,"journal":{"name":"J19-The Journal of Nineteenth-Century Americanists","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75215456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:As the first African American novel to feature both African characters and take place in Africa, Pauline Hopkins’s Of One Blood (serialized in The Colored American 1902–03) has been celebrated as one of the earliest articulations of black internationalism. This paper expands the coordinates of Hopkins’s global commitments, charting an alternative geography beneath the Africa-oriented Of One Blood. Rather than look east, I turn to the Caribbean to reveal how Haiti emerges at key moments of female resistance. Focusing on the spiritual practices of the matrilineage of Hannah-Mira-Dianthe, I argue that women in the novel carry specifically Haitian rather than Ethiopian valences: from colonial Saint-Dominguan mesmerism, the prophecy of Bwa Kayiman, the poison of Makandal to – leaping across national and temporal borders – the Haitian-inspired insurrection of John Brown. Situated in the precarious period between the U.S.’s attempted annexation of the Môle-Saint-Nicolas and the 1915 Occupation, Of One Blood stages a feminized Haitian history, which runs beneath the masculinist “back to Africa” romance of Reuel. If, in her editorials for The Colored American, Hopkins wrote of Toussaint Louverture as “Napoleon’s black shadow,” I propose we also think of Haiti as the novel’s quiet but potent shadow to Africa. This muted Caribbean geography re-centers women at the heart of the narrative, adumbrates Hopkins’s anti-imperialist commitments, and questions the U.S. politics of bourgeois respectability. Subverting the reproductive drive of racial-sexual violence, Hopkins’s Haitian-inflected ghosts, prophets, and possessions offer an anti-genealogical model, which ultimately redress historical violence and forge new structures of relation.
{"title":"Unraveling the Blood Line: Pauline Hopkins’s Haitian Genealogies","authors":"M. Albanese","doi":"10.1353/jnc.2019.0019","DOIUrl":"https://doi.org/10.1353/jnc.2019.0019","url":null,"abstract":"ABSTRACT:As the first African American novel to feature both African characters and take place in Africa, Pauline Hopkins’s Of One Blood (serialized in The Colored American 1902–03) has been celebrated as one of the earliest articulations of black internationalism. This paper expands the coordinates of Hopkins’s global commitments, charting an alternative geography beneath the Africa-oriented Of One Blood. Rather than look east, I turn to the Caribbean to reveal how Haiti emerges at key moments of female resistance. Focusing on the spiritual practices of the matrilineage of Hannah-Mira-Dianthe, I argue that women in the novel carry specifically Haitian rather than Ethiopian valences: from colonial Saint-Dominguan mesmerism, the prophecy of Bwa Kayiman, the poison of Makandal to – leaping across national and temporal borders – the Haitian-inspired insurrection of John Brown. Situated in the precarious period between the U.S.’s attempted annexation of the Môle-Saint-Nicolas and the 1915 Occupation, Of One Blood stages a feminized Haitian history, which runs beneath the masculinist “back to Africa” romance of Reuel. If, in her editorials for The Colored American, Hopkins wrote of Toussaint Louverture as “Napoleon’s black shadow,” I propose we also think of Haiti as the novel’s quiet but potent shadow to Africa. This muted Caribbean geography re-centers women at the heart of the narrative, adumbrates Hopkins’s anti-imperialist commitments, and questions the U.S. politics of bourgeois respectability. Subverting the reproductive drive of racial-sexual violence, Hopkins’s Haitian-inflected ghosts, prophets, and possessions offer an anti-genealogical model, which ultimately redress historical violence and forge new structures of relation.","PeriodicalId":41876,"journal":{"name":"J19-The Journal of Nineteenth-Century Americanists","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72717242","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:In this essay I examine the Literary World, the influential literary periodical edited by Evert Duyckinck, to rethink the relationship between region and nation in antebellum cultural geography. I argue that there were multiple literary nationalisms, each a regionally distinctive invocation of nationalist rhetoric on behalf of regional interests that belied rather than represented or advocated a national literature. Subscription records from the Literary World show that literary nationalist rhetoric developed within a feedback loop that reinforced the regional affiliation of both the periodical and its readers. Region emerges as a site of cultural identification, I argue, precisely through this dialectic between textual representations of cultural geography and the way those texts traversed actual geography. In order to understand the consolidation of national circulation and the concept of the nation in the nineteenth-century, we need to re-examine the regional cultural practices that produced them.
{"title":"Regional Nationalism and the Ends of the Literary World","authors":"A. Leslie","doi":"10.1353/jnc.2019.0020","DOIUrl":"https://doi.org/10.1353/jnc.2019.0020","url":null,"abstract":"ABSTRACT:In this essay I examine the Literary World, the influential literary periodical edited by Evert Duyckinck, to rethink the relationship between region and nation in antebellum cultural geography. I argue that there were multiple literary nationalisms, each a regionally distinctive invocation of nationalist rhetoric on behalf of regional interests that belied rather than represented or advocated a national literature. Subscription records from the Literary World show that literary nationalist rhetoric developed within a feedback loop that reinforced the regional affiliation of both the periodical and its readers. Region emerges as a site of cultural identification, I argue, precisely through this dialectic between textual representations of cultural geography and the way those texts traversed actual geography. In order to understand the consolidation of national circulation and the concept of the nation in the nineteenth-century, we need to re-examine the regional cultural practices that produced them.","PeriodicalId":41876,"journal":{"name":"J19-The Journal of Nineteenth-Century Americanists","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85515342","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Near the turn of the twentieth century, William Dean Howells, the most fervent promoter of literary realism in America, serialized a romance trilogy, the Altrurian romances. Since they so conspicuously conflict with Howells's other novels and his many programmatic statements about the value of literary realism, these anomalous tales have continued to pose a problem for critics. In contrast to past interpretations of the romances—which either try to explain away their differences or argue that Howells lost faith in realism—this essay contends that the romances constitute a strategic move on Howells's part to support the cause of realism in the midst of “the romance revival” afoot in both the U.S. and England.
{"title":"Did Howells Give Up on Realism?","authors":"R. Walker","doi":"10.1353/jnc.2019.0021","DOIUrl":"https://doi.org/10.1353/jnc.2019.0021","url":null,"abstract":"ABSTRACT:Near the turn of the twentieth century, William Dean Howells, the most fervent promoter of literary realism in America, serialized a romance trilogy, the Altrurian romances. Since they so conspicuously conflict with Howells's other novels and his many programmatic statements about the value of literary realism, these anomalous tales have continued to pose a problem for critics. In contrast to past interpretations of the romances—which either try to explain away their differences or argue that Howells lost faith in realism—this essay contends that the romances constitute a strategic move on Howells's part to support the cause of realism in the midst of “the romance revival” afoot in both the U.S. and England.","PeriodicalId":41876,"journal":{"name":"J19-The Journal of Nineteenth-Century Americanists","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87422037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"My Sixty Years as an Amerikanist","authors":"Heinz Ickstadt","doi":"10.1353/jnc.2019.0024","DOIUrl":"https://doi.org/10.1353/jnc.2019.0024","url":null,"abstract":"","PeriodicalId":41876,"journal":{"name":"J19-The Journal of Nineteenth-Century Americanists","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82066347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Like many early African American writers, Charles Chesnutt was deeply interested in the texts and educational practices of classical antiquity. While Chesnutt similarly connected the rhetoric of racial uplift to the project of reading the classics, his reading choices also reveal how classical literature moved him to think (and write) beyond the racial constraints of his post-Reconstruction historical moment. In this article, I reexamine Chesnutt’s manuscript Journals with a focus on his intensive reading of Homer’s Iliad—a section of the Journals not broadly available to scholars in print form. The Journals show us the reading method of a partially educated African American man of the late-nineteenth century, demonstrating that he viewed reading as an opportunity to assert his entitlement to participate in a timeless community of readers and to acquire the knowledge he would need to engage in conversations with readers of his time, without regard to racial boundaries.
{"title":"On First Looking into Charles Chesnutt’s Homer","authors":"Tess Chakkalakal","doi":"10.1353/jnc.2019.0022","DOIUrl":"https://doi.org/10.1353/jnc.2019.0022","url":null,"abstract":"ABSTRACT:Like many early African American writers, Charles Chesnutt was deeply interested in the texts and educational practices of classical antiquity. While Chesnutt similarly connected the rhetoric of racial uplift to the project of reading the classics, his reading choices also reveal how classical literature moved him to think (and write) beyond the racial constraints of his post-Reconstruction historical moment. In this article, I reexamine Chesnutt’s manuscript Journals with a focus on his intensive reading of Homer’s Iliad—a section of the Journals not broadly available to scholars in print form. The Journals show us the reading method of a partially educated African American man of the late-nineteenth century, demonstrating that he viewed reading as an opportunity to assert his entitlement to participate in a timeless community of readers and to acquire the knowledge he would need to engage in conversations with readers of his time, without regard to racial boundaries.","PeriodicalId":41876,"journal":{"name":"J19-The Journal of Nineteenth-Century Americanists","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87304204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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