Abstract:In Ernest Hemingway’s 1950 novel Across the River and into the Trees, the protagonist’s love interest first covets and then wears a Venetian blackamoor brooch that evolved from a sixteenth-century tradition in Italian decorative arts. The brooch metaphorically “blackens” Hemingway’s otherwise white-centered text and invokes modernists’ fascination with Africa and the primitive. It also visually alludes to Othello and its themes of sexual jealousy and racial difference. Ultimately, through the motif of this peculiar piece of jewelry, Hemingway aestheticizes slavery and reaffirms white supremacy.
{"title":"Aestheticized Slavery: Blackamoor Jewelry in Hemingway’s Across the River and into the Trees","authors":"Lisa Tyler","doi":"10.1353/arq.2022.0021","DOIUrl":"https://doi.org/10.1353/arq.2022.0021","url":null,"abstract":"Abstract:In Ernest Hemingway’s 1950 novel Across the River and into the Trees, the protagonist’s love interest first covets and then wears a Venetian blackamoor brooch that evolved from a sixteenth-century tradition in Italian decorative arts. The brooch metaphorically “blackens” Hemingway’s otherwise white-centered text and invokes modernists’ fascination with Africa and the primitive. It also visually alludes to Othello and its themes of sexual jealousy and racial difference. Ultimately, through the motif of this peculiar piece of jewelry, Hemingway aestheticizes slavery and reaffirms white supremacy.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"78 1","pages":"29 - 53"},"PeriodicalIF":0.5,"publicationDate":"2022-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46473134","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:This article revisits the films My Own Private Idaho (1991) and Last Days (2005) through the lens of grunge and politics, showing how Gus Van Sant portrays grunge as an unstable aesthetic continually in flight from closure. The films’ protagonists are silenced either by the forces that co-opt them or by their own violent rejection of those forces, suggesting Van Sant does not envision a way out of corporate culture via a grunge ethic apart from death, madness, or a refusal to participate in social politics altogether. However, reading the form of these films reveals a road map for a more viable political vision than their plots—and grunge’s detractors—suggest.
{"title":"“My Own Private Aberdeen: Grunge Politics in the Films of Gus Van Sant”","authors":"M. Miley","doi":"10.1353/arq.2022.0023","DOIUrl":"https://doi.org/10.1353/arq.2022.0023","url":null,"abstract":"Abstract:This article revisits the films My Own Private Idaho (1991) and Last Days (2005) through the lens of grunge and politics, showing how Gus Van Sant portrays grunge as an unstable aesthetic continually in flight from closure. The films’ protagonists are silenced either by the forces that co-opt them or by their own violent rejection of those forces, suggesting Van Sant does not envision a way out of corporate culture via a grunge ethic apart from death, madness, or a refusal to participate in social politics altogether. However, reading the form of these films reveals a road map for a more viable political vision than their plots—and grunge’s detractors—suggest.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"78 1","pages":"102 - 81"},"PeriodicalIF":0.5,"publicationDate":"2022-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47080097","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:Coming to prominence in the 1930s as part of the Santa Fe and Taos literary scene, the New Mexico poet Peggy Pond Church published a number of collections and was included in Alice Corbin Henderson’s influential modernist anthology The Turquoise Trail (1928). More recently, Church has been considered a regionalist or environmentalist poet. Yet, a close analysis of her work reveals that her representations of the landscape and nature are more ambiguous than a surface reading of her project might suggest. Indeed, some of her most compelling early poems foreground a dissociating fear that makes her embrace of the land a complicated proposition. Utilizing the lenses of Timothy Morton’s dark ecology and Stacy Alaimo’s material ecofeminism, this essay argues that Church’s poetry registers a struggle to overcome the Cartesian divide between the human and natural worlds that prefigures and sheds light on contemporary ecocritical discussions about literature and the environment.
{"title":"“Torn by the Rocks Like the Drowned Girls”: Dark Ecology in the Early Poetry of Peggy Pond Church","authors":"Michael S. Begnal","doi":"10.1353/arq.2022.0022","DOIUrl":"https://doi.org/10.1353/arq.2022.0022","url":null,"abstract":"Abstract:Coming to prominence in the 1930s as part of the Santa Fe and Taos literary scene, the New Mexico poet Peggy Pond Church published a number of collections and was included in Alice Corbin Henderson’s influential modernist anthology The Turquoise Trail (1928). More recently, Church has been considered a regionalist or environmentalist poet. Yet, a close analysis of her work reveals that her representations of the landscape and nature are more ambiguous than a surface reading of her project might suggest. Indeed, some of her most compelling early poems foreground a dissociating fear that makes her embrace of the land a complicated proposition. Utilizing the lenses of Timothy Morton’s dark ecology and Stacy Alaimo’s material ecofeminism, this essay argues that Church’s poetry registers a struggle to overcome the Cartesian divide between the human and natural worlds that prefigures and sheds light on contemporary ecocritical discussions about literature and the environment.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"78 1","pages":"55 - 79"},"PeriodicalIF":0.5,"publicationDate":"2022-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42999181","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:This essay will re-evaluate Stevens’s “apolitical” poetic stance during the decade as political statement based on pragmatic accommodation to the demands of reality on the poetic imagination. For Stevens, the dialectical tension between art and society is crucial in ensuring that the imagination remains alive to the continual formations of political reality which can never be fully ossified by any one ideological doctrine. Stevens ultimately enunciates a fuller vision of openness, for the Stevensian subject can negotiate politics on his own terms without being completely limited by it.
{"title":"Poetry in (the) place of the Polis: The Question of Politics in Wallace Stevens’s Poems of the Thirties","authors":"Ian Y. H. Tan","doi":"10.1353/arq.2022.0024","DOIUrl":"https://doi.org/10.1353/arq.2022.0024","url":null,"abstract":"Abstract:This essay will re-evaluate Stevens’s “apolitical” poetic stance during the decade as political statement based on pragmatic accommodation to the demands of reality on the poetic imagination. For Stevens, the dialectical tension between art and society is crucial in ensuring that the imagination remains alive to the continual formations of political reality which can never be fully ossified by any one ideological doctrine. Stevens ultimately enunciates a fuller vision of openness, for the Stevensian subject can negotiate politics on his own terms without being completely limited by it.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"78 1","pages":"103 - 128"},"PeriodicalIF":0.5,"publicationDate":"2022-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45088290","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:While long having noted John Dos Passos’s early fiction’s debt to Italian Futurism, critics have paid scant attention to the author’s interest in English Vorticism. In his best-known novels of the 1920s—One Man’s Initiation, Three Soldiers, and Manhattan Transfer—Dos Passos pits the two avant-garde movements against each other. Drawing on theories of violence by Hal Foster and other critics, I argue that Vorticism’s insistence on controlled movement frequently and unwittingly gives way to Futurist chaos and dispersal—just as the characters in these three novels, often in the very attempt to maintain equilibrium at high speeds, spin self-destructively out of control. Those who do survive the speed and violence of modern life risk a different form of death, one in which their souls are gutted and replaced with a mechanization that makes them a physical and spiritual threat to others who come within their orbit.
{"title":"From Vorticist Dreams to Futurist Nightmares: John Dos Passos’s Novels of the 1920s","authors":"A. Shaheen","doi":"10.1353/arq.2022.0020","DOIUrl":"https://doi.org/10.1353/arq.2022.0020","url":null,"abstract":"Abstract:While long having noted John Dos Passos’s early fiction’s debt to Italian Futurism, critics have paid scant attention to the author’s interest in English Vorticism. In his best-known novels of the 1920s—One Man’s Initiation, Three Soldiers, and Manhattan Transfer—Dos Passos pits the two avant-garde movements against each other. Drawing on theories of violence by Hal Foster and other critics, I argue that Vorticism’s insistence on controlled movement frequently and unwittingly gives way to Futurist chaos and dispersal—just as the characters in these three novels, often in the very attempt to maintain equilibrium at high speeds, spin self-destructively out of control. Those who do survive the speed and violence of modern life risk a different form of death, one in which their souls are gutted and replaced with a mechanization that makes them a physical and spiritual threat to others who come within their orbit.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"78 1","pages":"1 - 28"},"PeriodicalIF":0.5,"publicationDate":"2022-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41735573","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 one of the many poems left in manuscript at the time of Melville’s death, “An Afternoon in Naples in the Time of Bomba” has remained relatively neglected in the critical recognition of the author’s poetry over the last half-century. The poem nevertheless possesses considerable merits as an evocation of the legendarily beautiful city of Naples under the brutal regime of King Ferdinand II, based on Melville’s own visit to the city in early 1857. A careful reading of the poem discloses that it is patterned around a thematic binary based on the literary and artistic motifs of carpe diem (“seize the day”) and memento mori (“remember death”). The speaker’s afternoon tour around the city thus provides him with repeated opportunities to experience a variety of sensual pleasures while also being made aware of the perilous condition of the Neapolitans under the twin threats of political repression and volcanic eruption.
{"title":"“A Medley Mad of Each Extreme”: Melville’s “An Afternoon in Naples in the Time of Bomba” as Moral Quest","authors":"J. Cook","doi":"10.1353/arq.2022.0014","DOIUrl":"https://doi.org/10.1353/arq.2022.0014","url":null,"abstract":"Abstract:As one of the many poems left in manuscript at the time of Melville’s death, “An Afternoon in Naples in the Time of Bomba” has remained relatively neglected in the critical recognition of the author’s poetry over the last half-century. The poem nevertheless possesses considerable merits as an evocation of the legendarily beautiful city of Naples under the brutal regime of King Ferdinand II, based on Melville’s own visit to the city in early 1857. A careful reading of the poem discloses that it is patterned around a thematic binary based on the literary and artistic motifs of carpe diem (“seize the day”) and memento mori (“remember death”). The speaker’s afternoon tour around the city thus provides him with repeated opportunities to experience a variety of sensual pleasures while also being made aware of the perilous condition of the Neapolitans under the twin threats of political repression and volcanic eruption.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":" ","pages":"1 - 28"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49032574","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:Frustrated by the framing of disability as tragedy, disabled protestors in the 1990s adopted the slogan “no pity” to argue that feeling prohibits the civil rights movement’s commitment to material change. Extending the connection historian Paul Longmore establishes between late-twentieth-century versions of charity and nineteenth-century fiction, this essay turns to regional writer Mary Wilkins Freeman whose work is subject to the same pity that activists decry one hundred years later. Early and late critics attribute her stories’ presumed pathos to her depictions of impaired women. While feelings like sentiment were understood as catalysts for social reform in the nineteenth-century United States, Wilkins Freeman’s attention to the material world—her emphasis on objects rather than people—redirects such feelings, making visible the everyday needs of poor, disabled characters. Emphasizing the facts of hardship rather than the feelings of it, these turn-of-the-century stories reveal a longer genealogy of affect’s relationship to disability.
{"title":"No Pity: Mary Wilkins Freeman, Disability, and the “Tears of Things”","authors":"Clare Mullaney","doi":"10.1353/arq.2022.0016","DOIUrl":"https://doi.org/10.1353/arq.2022.0016","url":null,"abstract":"Abstract:Frustrated by the framing of disability as tragedy, disabled protestors in the 1990s adopted the slogan “no pity” to argue that feeling prohibits the civil rights movement’s commitment to material change. Extending the connection historian Paul Longmore establishes between late-twentieth-century versions of charity and nineteenth-century fiction, this essay turns to regional writer Mary Wilkins Freeman whose work is subject to the same pity that activists decry one hundred years later. Early and late critics attribute her stories’ presumed pathos to her depictions of impaired women. While feelings like sentiment were understood as catalysts for social reform in the nineteenth-century United States, Wilkins Freeman’s attention to the material world—her emphasis on objects rather than people—redirects such feelings, making visible the everyday needs of poor, disabled characters. Emphasizing the facts of hardship rather than the feelings of it, these turn-of-the-century stories reveal a longer genealogy of affect’s relationship to disability.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"78 1","pages":"61 - 85"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48515386","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:Flannery O’Connor has recently garnered attention for the manifestations in her own life of the racism she depicted in her fictional characters. These characters register her ambivalence toward her readership, which she imagined as Northern, secular, cosmopolitan, liberal, and largely white. O’Connor populated her stories with caricatures of variously impoverished whites from the South. Drawing on these stories as well as her letters and essays, I show how she designed these characters as “useful idiots” upon whom her presumed readers could project the sin of racist violence. In so doing, O’Connor exposed the presumptions of intellectual, moral, and political supremacy made by her Northern readers when describing what she calls as “Southern degeneracy.” Here I examine two moments—one from history and another from our contemporary moment—when O’Connor implicates herself or is implicated by national conversations about the South and the history of white supremacy that it nurtures.
{"title":"“Useful Idiots: Flannery O’Connor and the Curse of Superiority”","authors":"T. Black","doi":"10.1353/arq.2022.0018","DOIUrl":"https://doi.org/10.1353/arq.2022.0018","url":null,"abstract":"Abstract:Flannery O’Connor has recently garnered attention for the manifestations in her own life of the racism she depicted in her fictional characters. These characters register her ambivalence toward her readership, which she imagined as Northern, secular, cosmopolitan, liberal, and largely white. O’Connor populated her stories with caricatures of variously impoverished whites from the South. Drawing on these stories as well as her letters and essays, I show how she designed these characters as “useful idiots” upon whom her presumed readers could project the sin of racist violence. In so doing, O’Connor exposed the presumptions of intellectual, moral, and political supremacy made by her Northern readers when describing what she calls as “Southern degeneracy.” Here I examine two moments—one from history and another from our contemporary moment—when O’Connor implicates herself or is implicated by national conversations about the South and the history of white supremacy that it nurtures.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"78 1","pages":"111 - 127"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47369995","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 his last decade Henry David Thoreau devoted himself to the writing of his Journal, a project that entailed not just the composition of thousands of pages but also a rigorous practice of close daily observation of nature. This essay tries to explain the logic behind Thoreau’s surprising turn away from published writing, as well as to explore the text that resulted from it. It finds in the Journal a unique combination of poetic, philosophical, scientific, and spiritual impulses and practices, rather than the dedication to scientific aims which recent scholars claim characterized Thoreau’s late career. Instead of pursuing private goals or making public contributions to a particular field or discipline, Thoreau in the Journal immerses himself in purposes other than his own, namely, the myriad purposes of animals, plants, and natural phenomena. The result is a sui generis text without a plan, a narrative, or even a narrator.
{"title":"“That such things are”: The Non-Teleological Poetics of Thoreau’s Journal","authors":"Daniel Nelson","doi":"10.1353/arq.2022.0017","DOIUrl":"https://doi.org/10.1353/arq.2022.0017","url":null,"abstract":"Abstract:In his last decade Henry David Thoreau devoted himself to the writing of his Journal, a project that entailed not just the composition of thousands of pages but also a rigorous practice of close daily observation of nature. This essay tries to explain the logic behind Thoreau’s surprising turn away from published writing, as well as to explore the text that resulted from it. It finds in the Journal a unique combination of poetic, philosophical, scientific, and spiritual impulses and practices, rather than the dedication to scientific aims which recent scholars claim characterized Thoreau’s late career. Instead of pursuing private goals or making public contributions to a particular field or discipline, Thoreau in the Journal immerses himself in purposes other than his own, namely, the myriad purposes of animals, plants, and natural phenomena. The result is a sui generis text without a plan, a narrative, or even a narrator.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"78 1","pages":"110 - 87"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43732424","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:For the hardship imposed on patients, Silas Weir Mitchell’s Rest Cure remains notorious. This essay reconstructs Mitchell’s philosophy of care, primarily scrutinizing his understanding of sympathy as a vector for the person-to-person transmission of mental illness. The praxis of sequestration central to Rest Cure methodology functioned as a quarantine measure, designed to prevent bystanders from interacting sympathetically with ailing patients and acquiring analogous disorders. Engagements with the antisympathetic components of Mitchell’s treatment had a formative impact on Charlotte Perkins Gilman, a former patient, and Sigmund Freud, a Rest Cure practitioner. Gilman would later fashion sympathy into an emancipatory force for utopia. Freud would become disillusioned with the Rest Cure by the time of Studies on Hysteria, even as the volume’s case histories conform to a paradigm of contagious neuroses. Freud remained cautious of sympathy’s pathological properties, and his concerns survive in psychoanalytic prohibitions against emotive interface between doctor and patient.
{"title":"“The Ghost in Search of Help”: Silas Weir Mitchell’s Sentimental Quarantine, Charlotte Perkins Gilman’s Sympathetic Utopia, and Sigmund Freud’s Mitleidsimitation","authors":"Billie Hunt","doi":"10.1353/arq.2022.0015","DOIUrl":"https://doi.org/10.1353/arq.2022.0015","url":null,"abstract":"Abstract:For the hardship imposed on patients, Silas Weir Mitchell’s Rest Cure remains notorious. This essay reconstructs Mitchell’s philosophy of care, primarily scrutinizing his understanding of sympathy as a vector for the person-to-person transmission of mental illness. The praxis of sequestration central to Rest Cure methodology functioned as a quarantine measure, designed to prevent bystanders from interacting sympathetically with ailing patients and acquiring analogous disorders. Engagements with the antisympathetic components of Mitchell’s treatment had a formative impact on Charlotte Perkins Gilman, a former patient, and Sigmund Freud, a Rest Cure practitioner. Gilman would later fashion sympathy into an emancipatory force for utopia. Freud would become disillusioned with the Rest Cure by the time of Studies on Hysteria, even as the volume’s case histories conform to a paradigm of contagious neuroses. Freud remained cautious of sympathy’s pathological properties, and his concerns survive in psychoanalytic prohibitions against emotive interface between doctor and patient.","PeriodicalId":42394,"journal":{"name":"Arizona Quarterly","volume":"78 1","pages":"29 - 60"},"PeriodicalIF":0.5,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42353973","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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