CitizenSE's Latest Crazy Hawthorne Idea I

For CitizenSE's inaugural Latest Crazy Hawthorne Idea post, I want to pick up where I left off in an article of mine from almost seven years ago now, on the meaning, significance, and stakes of the re-visions of The Scarlet Letter in Maryse Conde's I, Tituba, Black Witch of Salem and Bharati Mukherjee's The Holder of the World. In that article, I was most interested in examining the concept of hybridity, popularized (though not originated) by postcolonial studies scholars such as Homi Bhabha, for the possibilities its careful use could bring to American Studies (and the dangers of careless uses). So I focused on the contrasting ways in which Conde and Mukherjee "hybridized" Hawthorne and New England, particularly by analyzing their reimaginings of Hester and Pearl. In the course of doing this, I tended to valorize Conde's over Mukherjee's version of hybridity, while of course being fair to Mukherjee (in fact, I showed how Holder quite cleverly responds to criticisms of her earlier novels and stories), but ultimately suggested that taken together, they open the way for a re-evaluation of Bhabha's often-criticized use of hybridity and of the implications of postcolonial studies for research, teaching, and curricula in American Studies. It was a long, complex argument, and I tried to cover too much ground in it, so I'm glad to get another crack at it as the last chapter of my book manuscript.

Thanks to thoughtful, perceptive, and constructive criticisms of the collection my essay appeared in, Postcolonial Theory and the United States, by such reviewers as Malini Johar Schueller and Rachel Adams, I now have a clearer sense of how to frame, articulate, and develop my original argument. And thanks to the opportunity my Fulbright has offered me to teach my Postcolonial Hawthorne course at three different universities in Fukuoka (yes, it's official, I get to repeat the course twice next semester), the manuscript is also going to benefit from the perspectives of undergraduate and graduate students from Japan as well as America (in my Hawthorne and Morrison and New World Slavery and the Transatlantic Imagination graduate seminars at SUNY Fredonia).

To give one example of the benefits of such experience (and of rereading works you're familiar with when teaching them, no matter how many times you've read them before), I want to mention some passages from "The Custom-House" I recently re-discovered, connect them to some passages from The Scarlet Letter, and thereby reshape one of my arguments about Mukherjee's particular version of "hybridizing Hawthorne." For as much as I prefer Conde's to Mukherjee's in general, one weakness is her tendency to locate hybridity in the Caribbean and portray New England as strictly monocultural, her tendency to hybridize New England by putting it in a larger hemispheric context. Where Mukherjee outdoes Conde, I believe now, is in recognizing various versions of New England and showing how the dominant group in the region was actively suppressing its actual hybridity. Her re-reading of Hawthorne suggests that he turned away from the most interesting story he could have told about colonial New England.

Well, it turns out that "The Custom-House" itself can support certain of Mukherjee's narrator's speculations about Hawthorne. From his opening contrast between his "native town of Salem, at the head of what, half a century ago, in the days of old King Derby, was a bustling wharf" and the sad state of commerce in 1840s Salem, to his recognition that records of "the former commerce of Salem...and memorials of her princely merchants--old King Derby--old Billy Gray--old Simon Forrester--and many another magnate in his day" could be used as "materials of local history," to the way in which he frames his (imaginary) "discovery of some little interest"--the (imaginary) remains of Hester's scarlet letter and the document by Surveyor Pue outlining her "life and conversation" (which he mock-seriously offers to exhibit to interested readers in order to authenticate his romance)--Hawthorne shows a keen awareness of the importance of the India trade to Salem's economic history in colonial and early national America. Let's look more closely at that last example, for it seems to me now to be one key inspiration of Mukherjee's novel, or at least the source of one of her narrator's key claims about the limitations of The Scarlet Letter:

Poking and burrowing into the heaped-up rubbish in the corner; unfolding one and another document, and reading the names of vessels that had long ago foundered at sea or rotted at the wharves, and those of merchants, never heard of now on 'Change, nor very readily decipherable on their mossy tombstones, glancing at such matters with the saddened, weary, half-reluctant interest which we bestow on the corpse of dead activity,--and exerting my fancy, sluggish with little use, to raise up from these dry bones an image of the old town's brighter aspect, when India was a new region, and only Salem knew the way thither,--I chanced to lay my hand on a small package, carefully done up in a piece of ancient yellow parchment.

Hawthorne's implicit comparison between the ultimate value of commercial, historical, and literary endeavors, his admission of failure in his attempt to imagine a "brighter" (and transregional) Salem, and his immediate turn toward what for him is a more compelling story rooted in "local" history--all these aspects of this passage find their way into The Holder of the World.

Another "Custom-House" passage, taken in tandem with a late scene in The Scarlet Letter, also helps to put Salem in world history--and, not coincidentally, it's another moment when Hawthorne tries to imagine what the Salem Custom House used to be, in the years "before the last war with England" ruined Salem's commercial fleet:

On some such morning, when three or four vessels happen to have arrived at once,--usually from Africa or South America,--or to be on the verge of their departure thitherward, there is a sound of frequent feet, passing briskly up and down the granite steps.

As Conde no doubt would point out, what's elided by the reference to the War of 1812, as well as by the list of characters one might find in early national Salem--from the "sea-flushed ship-master" to "the smart young clerk," with the euphemistic mention of "other miscellaneous ones to diversify the group"--is the 1807 abolition of the slave trade. But as Mukherjee might add, the chapter entitled "The New England Holiday" weaves the slave trade and the India trade into the climax of The Scarlet Letter. Take its contrast between the "generation next to the early emigrants," who "wore the blackest shade of Puritanism, and so darkened the national visage with it, that all the subsequent years have not sufficed to clear it up" and the "faces of strange people, and Indians among them, and sailors" that Pearl notices and asks Hester about--and its less euphemistic catalog of those who "enlivened" the "sad gray, brown, or black of the English emigrants" with "some diversity of hue," including not only a "party of Indians" but also "some mariners," a "part of the crew of the vessel from the Spanish Main," who would "go near to be arraigned as a pirate" in the 1840s for their "depradations on the Spanish commerce." Take its observation that "the sea, in those old times, heaved, swelled, and foamed very much at its own will, or subject only to the tempestuous wind, with hardly any attempts at regulation by human law." Take its remark that "the buccaneer on the wave might relinquish his calling, and become at once, if he chose, a man of probity and piety on land."

All this adds up to a series of recognitions: the very "questionable vessel" on which Hester, Dimmesdale, and Pearl plan to escape Puritan New England may well have been involved in the slave trade or the India Trade or piracy on the Spanish Main. Hawthorne's narrator's rhetoric, in its ambigious shifts between clothes and faces, mixes racial and moral discourses. Hawthorne's evocation of the transregionality of colonial New England may not be as fleshed out as Melville's in Moby-Dick and "Benito Cereno," nor as willing to critique injustice, but it does recognize the possibility and perhaps even the desirability of telling other stories of New England than The Scarlet Letter's "tale of human frailty and sorrow." Mukherjee may make much of Hawthorne's earlier exasperation at his fellow Custom-House officers who "spoke with far more interest and unction of ther morning's breakfast, or yesterday's, to-day's, or to-morrow's dinner, than of the shipwreck of forty or fifty years ago, and all the world's wonders which they had witnessed with their youthful eyes," while both she and Conde may run with his implicit suggestion (especially when read in tandem with certain sketches from the late 1830s and early 1840s that I'll get more into later) that there may be something illicit in the supposedly "long-established rank" of the "families which now compose the aristocracy of Salem" in particular and New England more generally, but in so doing they are activating potentials in Hawthorne's own writing, not importing something foreign into it.

All right, this is as far as I have time to go for now. There's a lot more to say on what Mukherjee in particular did with the theme of leaving New England, but since I inexplicably failed to bring The Holder of the World with me to Japan, this will have to wait for another time. Next Saturday, look for my case that Toni Morrison drew on both "Young Goodman Brown" and little-recognized passages from Chapters 14-16 of The Scarlet Letter, as well as more often commented-upon passages from his first novel and The House of the Seven Gables, in assembling some of the key characters and themes of Beloved. I'll be talking about how ribbons, brooks, and pools not only help connect specter evidence and trauma in Hawthorne and Morrison, but also show why it's as important to look at the relations between Pearl and Denver, Pearl and Beloved, and the Salem witch trials and Reconstruction as those between Hester and Sethe or colonial Puritans and antebellum Americans.

Why "Citizen SE," Take Three

Were anyone other than the humble proprietor of this "insignificant microbe" of an outpost at the outer limits of blogoramaville (verily, a new colony on the electronic frontier) to have been reading my earlier posts, no doubt one of them would ask something like "so, where have you been?" (having seen behind my veil to the inmost Me, this reader no doubt realized I would immediately take defense and bristle at the implied allusion to my one-Hawthorne-post-per-day rule). To which smart-aleck reader I would reply, "Ask my two coughing, feverish, snot-bubble-blowing, and clingy musume!" and say no more. Another reader, concerned at the length of the awkward silence that ensued, would helpfully chime in, "So...by 'citizen of somewhere else,' you're arguing Hawthorne meant 'anywhere but Salem,' right? But what does this have to do with your choice of the blog title?" To which nice and smart but just a little condescending reader, I would reply in kind, "Not exactly," and, "be patient." Miffed at my sleep-deprived surliness, this reader would respond, "OK, big guy, answer me this, then. Where is the 'unrepentant snark' you referred to in your last post? Irony may not always be in the eye of the beholder, but in this case all I read and hear from Hawthorne is elaborate politeness. Also, your characterization of Hawthorne as raging bull in the china shop of mid-19th C Salem is not exactly kosher. What happened to the Hawthorne I know and love?" Which gives me the opening I need to drop this framing device and get into the meat of this post.

Yes, the elaborate politeness of Hawthorne's preface to the second edition of The Scarlet Letter is strikingly...elaborate. That's my point. Referring to oneself in the third person, as Hawthorne did at the key moments in his short essay, is often a move that distances the speaker from, and elevates him above, his audience. It's in keeping with Hawthorne's other efforts to position those who took offense at his characterization of Whig Custom-House officers in the earlier sketch as overreacting to an entirely innocent effort from an entirely apolitical literary man. Certainly there's some truth to his overreaction charge. But you don't have to have read a good Hawthorne biography or looked in the Centenary Edition at the relevant letters and journal entries or read scholarly essays that analyze the rhetoric and historical context of "The Custom-House" to get my point. Just keep in mind that the very first line of the preface reads:

Much to the author's surprise, and (if he may say so without additional offence) considerably to his amusement,....

If you felt aggrieved by "The Custom-House," I don't see how you can help but take "additional offense" to such an authorial confession of "considerabl[e]...amusement" at your hurt feelings. The fact that non-aggrieved readers would be less likely to understand or share your reaction--and might even be inclined to join Hawthorne in finding your confusion of writing with arson and murder amusing--would be even more infuriating, would it not, especially because the confusion was not yours but one Hawthorne attributed to you? The fact that the preface lends itself to two different and opposed readings--in one, Hawthorne is shocked, just shocked, that anyone could ever find anything offensive in his "sketch of official life" (yet finds the misreadings a little funny) and is eager to put things right, but can't even identify the source of the misreadings in anything he wrote or intended; in the other, Hawthorne's surprise stems from the fact that his sketch's strategies worked as well as they did at causing his political opponents such frustration and anger and amused to have a chance to rub it in yet further as the very controversy their reactions contribute to gives the offending sketch a wider audience even more likely to take his rhetoric at face value--is not, then, a product of ambivalence or ambiguity or Hawthorne's proleptic knowledge of reader-response and post-structuralist theory. It shows that the best unrepentant snark is the kind that infuriates its targets to no end but leaves those who were not its targets wondering why said targets were and are so infuriated. Michael Berube understands this, which is why his brand of unrepentant snark is just as much and sometimes more fun than that of those who round out CitizenSE's own "funniest snark in blogoramaville" list (in order from #2 to #6): The Poor Man Institute, Sadly, No!, Happy Furry Puppy Story Time, Jesus' General, and fafblog!. (Hey, it's end-of-year-blog-awards time. I'm just getting in the spirit of the season. Now back to Hawthorne.)

So why did I say "not exactly" to the helpful "citizen of somewhere else"="anywhere but Salem" idea? First, it doesn't go far enough. Hawthorne's "Henceforth...I am a citizen of somewhere else" is a kind of declaration of independence from Salem. Like Jefferson, Hawthorne is explaining and justifying why it has become "necessary for one people to dissolve the political bands which have connected them with another" (and in the process positing a choice as a necessity), declaring the "causes which impel them to separation" by listing a "long train of abuses," appealing to "brethren" who nevertheless have been and remain "deaf to the voice of justice & consanguinity," and, therefore, "acquiesc[ing] in the necessity which denounces our separation" (Hawthorne's "Henceforth" even restores the "eternal" cut by the Continental Congress from this line of Jefferson's draft of the Declaration). I'll get into this more when I turn to Hawthorne's representations of, connections with, and feelings toward Salem in a later post. [Update: mission accomplished.]

The "anywhere but Salem" interpretation of "citizen of somewhere else" is also too vague. We should be cautious to avoid specifying it too narrowly, at the same time. For even as Hawthorne alludes to the American Revolution (positioning himself as an American citizen), he also repeatedly references the French Revolution in "The Custom-House." By identifying his "figurative self" as victim of the Whig political guillotine (who for a while was "careering through the public prints, in my decapitated state, like Irving's Headless Horseman; ghastly and grim, and longing to be buried, as a politically dead man ought"), by joking that the title of his book ought to be POSTHUMOUS PAPERS OF A DECAPITATED SURVEYOR, and by setting up his "citizen of somewhere else" paragraph with the hope that

the sketch which I am now bringing to a close, if too autobiographical for a modest person to publish in his lifetime, will readily be excused in a gentleman who writes from beyond the grave. Peace be with all the world! My blessing on my friends! My forgiveness to my enemies! For I am in the realm of quiet!"

Hawthorne at once positions himself as a magnanimous martyr to Whig revolutionary terror, as a true aristocrat being sacrificed by the party of Salem's aristocracy that is operating in the very mode of democratic extremism they claim to oppose, and as the last of the series of ghosts that haunt "The Custom-House." (More on these ghosts later, too. And in The Scarlet Letter itself.) So it's not exactly right to put "The Custom-House" unproblematically in the tradition of Jeffersonian democracy (with its "tree of liberty nourished by blood of tyrants" strains), unless you see that tradition as itself problematized and strained. (After all, Jefferson blamed King George for blocking efforts by the colonists to end the slave trade yet also signalled his intent to defend American slavery by condemning the king's version of Lincoln's Emancipation Proclamation; Jefferson affirmed the "self-evident" truth that "all men are created equal" in the Declaration of Independence yet called in Notes on the State of Virginia for scientific investigations to confirm his suspicions of the racial inequality of African Americans; Jefferson condemned slavery in part for its corrupting tendencies on masters yet continued to hold slaves and do more than hold Sally Hemings; Jefferson denounced "merciless Indian savages" who fought with England in the Declaration of Independence, praised American Indians in Notes on the State of Virginia, and saw them as an obstacle to the expansion of the American "empire of liberty" that he helped engineer with the Louisiana Purchase. Hawthorne has his own contradictions on these issues, which we'll explore later.)

For alongside the echoes of American revolutionary rhetoric are suggestions that to be a "citizen of somewhere else" is to write from "beyond the grave," from "the realm of quiet," as a "politically dead man"--perhaps as a citizen of the "Hall of Fantasy" Hawthorne imagined in a story from the previous decade, one whose political death returns him to literary life. Consider the following passages as Hawthorne's exploration of this theme:

In view of my previous weariness of office, and vague thoughts of resignation, my fortune somewhat resembled that of a person who should entertain an idea of committing suicide, and, altogether beyond his hopes, meet with the good hap of being murdered.

No longer seeking nor caring that my name should be blazoned abroad on title pages, I smiled to think that it now had another kind of vogue. The Custom-House marker imprinted it, with a stencil and black paint, on pepper-bags, and baskets of anatto, and cigar-boxes, and bales of all kind of durable merchandise, in testimony that these commodities had paid the impost, and gone regularly through the office. Borne on such queer vehicle of fame, a knowledge of my existence, so far as a name conveys it, was carried where it had never been before, and, I hope will never go again.

But the past was not dead. Once in a great while, the thoughts, that had seemed so vital and so active, yet had been put to rest so quietly, revived again.

Thus Hawthorne introduces another theme--one that I'll connect later to the "anything dead coming back to life hurts" theme from Toni Morrison's Beloved--in the course of setting up his "discovery" of "a certain affair of fine red cloth, much worn and faded" which, "on careful examination, assumed the shape of a letter," along with "several foolscap sheets, containing many particulars respecting the life and conversation of one Hester Prynne, who appeared to have been rather a noteworthy personage in the view of our ancestors." In emphasizing his struggles to turn these meager (indeed, invented!) materials into a historical romance and thereby resurrect his literary imagination, Hawthorne is not simply being self-deprecating, or trying to win the reader's sympathy, or strategically lowering reader expectations for the romance that follows "The Custom-House." Consider the following passages, which elaborate on earlier difficulties in "exerting [his] fancy, sluggish with little use," as well as from "that lack of energy that distinguishes the occupants of alms-houses, and all other human beings who depend for subsistence on charity, on monopolized labor, or anything else but their own independent exertions" (E. Franklin Frazier and Daniel Moynihan, meet Nathaniel "Mr. Culture of Poverty OG Himself" Hawthorne):

My imagination was a tarnished mirror. It would not reflect, or only with miserable dimness, the figures with which I did my best to people it. The characters of the narrative would not be warmed and rendered malleable, by any heat that I could kindly at my intellecual forge. They would take neither the glow of passion nor the tenderness of sentiment, but retained all the rigidity of dead corpses, and stared me in the face with a fixed and ghastly grin of contemptuous defiance. "What have you to do with us?" that expression seemed to say. "The little power you might once have possessed over the tribe of unrealities is gone! You have bartered it for a pittance of the public gold. Go, then, and earn your wages!" In short, the almost torpid creatures of my own fancy twitted me with imbecility, and not without fair occasion.

I had ceased to be a writer of tolerably poor tales, and had become a tolerably good Surveyor of the Customs. That was all. But, nevertheless, it is any thing but agreeable to be haunted by a suspicion that one's intellect is dwindling away; or exhaling, without your consciousness, like ether out of a phial; so that, at every glance, you find a smaller and less volatile residuum. Of the fact, there could be no doubt; and, examining myself and others, I was led to conclusions in reference to the effect of public office on the character, not very favorable to the mode of life in question.

I'll note in passing the continuation of the ghosts/haunting motif that runs throughout "The Custom-House" in these passages--that will be the subject of a future post--but here call your attention to the way in which Hawthorne blames the imagination-deadening "mode of life" of a Custom House officer for causing him to lose "the little power [he] might once have possessed over the tribe of unrealities." If "citizen of somewhere else" refers to Hawthorne's choice of the republic of letters over the town of Salem, then it is a realm where the natives are restless. The "tribe of unrealities" may well be "creatures of [his] own fancy," but until he is figuratively rendered a corpse who can offer Salem his own "ghastly grin of contemptuous defiance," Hawthorne remains incapable of "dream[ing] strange things, and mak[ing] them look like the truth."

So let's return to the immediate context of the "citizen of somewhere else" line that I ended the previous post by quoting at some length. As Hawthorne puts it, his dismissal from the Custom-House has made him look forward to the time when his memories of Salem will be as hazy as if the town "were no portion of the real earth, but an overgrown village in cloud-land, with only imaginary inhabitants to people its wooden houses, and walk its homely lanes, and the unpicturesque prolixity of its main street." Never mind Hawthorne's uncharacteristic and jarring failure to maintain parallelism in this passage; what's crucial is that his proleptic and hypothetical reverie leads directly into the present-tense declaration, "Henceforth, it ceases to be a reality in my life. I am a citizen of somewhere else." The actual natives of Salem have become less significant to Hawthorne than the rebellious "tribe of unrealities." Hawthorne's fellow Custom House officers, who in the past were enough under his power to, as he puts it, dread "some discourtesy at my hands"--a situation which at the time "pained and amused" him to "behold the terrors that attended my advent" to office--have become "but shadows in my view; white-headed and wrinkled images, which my fancy used to sport with, and has now flung aside for ever" (perhaps a worse discourtesy to suffer than the "charge" he must "plead guilty to"--of "abbreviating the official breath of more than one of these venerable servants of the republic"). Similarly, Hawthorne can barely "recall the figures and appellations" of the merchants whose names had "such a classic familiarity for my ear six months ago," the "men of traffic, who seemed to occupy so important a position in the world." Whereas the romance becomes a "neutral territory, somewhere between the real world and fairy-land where the Actual and the Imaginary may meet, and each imbue itself with the other," Salem has become as abstract and inconsequential as a bad story idea. Whereas the "warmer light" of the "somewhat dim coal-fire" in Hawthorne's study at midnight "mingles itself with the cold spirituality of the moonbeams, and communicates, as it were, a heart and sensibilities of human nature to the forms which fancy summons up," converting them "from snow-images into men and women," the citizens of Salem suffer the opposite fate, becoming mere "imaginary inhabitants" of an "overgrown village in cloud-land." In short, Hawthorne suggests that as difficult as the process of turning the scarlet letter into The Scarlet Letter was, and as imperfect as the result is, it will still have more reality in his life, and potentially in the lives of his readers, than any more transient political or economic realities.

But there's more to the story of "The Custom-House." Stay tuned.

Why "CitizenSE," The Sequel

Let's start rhetorical. After I teach "The Custom-House" later today, I'll get more historical and trace out some of the allusions Hawthorne makes in his sketch to the slave trade and the India trade on which Salem's wealthiest merchant families made their fortunes (which Maryse Conde's I, Tituba, Black Witch of Salem and Bharati Mukherjee's The Holder of the World pick up and run with, as I failed to incorporate into my argument in my essay in Postcolonial Theory and the United States: Race, Ethnicity, and Literature). [Update: mission accomplished.] After that, I'll explore Hawthorne's focus on ghosts and death, which Toni Morrison makes so much use of in her reading of Mark Twain's Adventures of Huckleberry Finn and of course in Beloved (which, you could argue, takes its title from a passage in "The Custom-House"). [Update: mission in progress.] And maybe by then I'll be ready to get a little personal.

It may be a little simplistic to call "The Custom-House" Hawthorne's "farewell and fuck you" to Salem, but at least the phrase gets at the anger at his home town in general and specifically at those who were responsible for removing the "Loco-foco Surveyor" (as he sarcastically called himself in an allusion to accusations that he was a partisan Democrat) from public office at the Salem Custom House. When he remarks in his preface to the second edition of The Scarlet Letter that the reactions to what he calls his "sketch of official life" could "hardly have been more violent, indeed, had he burned down the Custom-House, and quenched its last smoking ember in the blood of a certain venerable personage, against whom he is supposed to cherish a particular malevolence," Hawthorne cleverly places the violence in the overreaction of his readers to his writing. But his answer to the "public disapprobation," which he acknowledges would "weigh very heavily on him, were he conscious of deserving it"--basically to point out "the frank and genuine good humor" of the sketch and "the general accuracy with which he has conveyed his sincere impression of the characters therein described," to "utterly disclaim" any motives of "enmity, or ill-feeling of any kind, personal or political," and to conclude that "it could not have been done in a better or kindlier spirit, nor, so far as his abilities availed, with a livelier effect of truth"--only adds fuel to the proverbial fire.

In short, I see the preface to the second edition of The Scarlet Letter as the "and the horse you rode in on" p.s. to "The Custom-House." Just look at the only three sentences that use the phrase "the author" in the preface, from its beginning, middle, and end, and I think you'll see my point:

Much to the author's surprise, and (if he may say so without additional offence) considerably to his amusement, he finds that his sketch of official life, introductory to THE SCARLET LETTER, has created an unprecedented excitement in the respectable community immediately around him.

...the author begs leave to say, that he has carefully read over the introductory pages, with a purpose to alter or expunge whatever might be found amiss, and to make the best reparation in his power for the atrocities of which he has been adjudged guilty.

The author is constrained, therefore, to republish his introductory sketch without the change of a word.

No atrocities, no reparations, no revisions. This is unrepentant snark of the highest order.

I'll have to continue the rhetorical analysis later, for the question of atrocities and reparations looms large in "The Custom-House" proper. For now, let me leave you with the immediate context of the "citizen of somewhere else" line and let you mull it over on your own for awhile:

The life of the Custom-House lies like a dream behind me.... The merchants--Pingree, Phillips, Shepard, Upton, Kimball, Bertram, Hunt,--these, and many other names, which had such a classic familiarity for my ear six months ago,--these men of traffic, who seemed to occupy so important a position in the world,--how little time has it required to so disconnect me from them all, not merely in act, but recollection! It is with an effort that I recall the figures and appellations of these few. Soon, likewise, my old native town will loom upon me through the haze of memory, a mist brooding over and around it; as if it were no portion of the real earth, but an overgrown village in cloud-land, with only imaginary inhabitants to people its wooden houses, and walk its homely lanes, and the unpicturesque prolixity of its main street. Henceforth, it ceases to be a reality in my life. I am a citizen of somewhere else.

The allusions here to earlier language on the romance and on Salem in the sketch are what I'll start with next post.