Why I Do This and Whom I'm Doing It For

So a few days ago undine at Not of General Interest asked:

How much information is too much information? What kind of information wouldn't you post on a blog?

Does an academic blog have a natural starting and ending point?

[A]re "academic bloggers" (often those who perform as, or are, male and write under their own names) all about the display--scholarship by another means, as another way to impress the masses and climb the academic ladder--and "academics who blog" (often those who perform as, or are, female) all about continuing community and supporting each other in all those trivial, TMI details?

I'll use these questions to help focus my thus far rather disparate set of musings on Why CitizenSE? and what Hawthorne might say about Blogging While Academic.

Second question first: This blog has a natural end point. Since I started it to kick-start my writing process on my book manuscript, American Studies and the Race for Hawthorne, I'll end it when the book is out and the first run of reviews seems to have run its course. Unless at some point during that period of time other folks want to join in and turn it into a "chiefly about Hawthorne matters" group blog, in which case it will become something very different than it is now. But as long as CitizenSE stays mine alone, by its end its categories and archives will provide various points of entry into the virtual version of my book for anyone who happens to drop by.

I'm definitely with Berube, Kaufman, and others who argue that blogs can be a way of making academic work both more visible and more accessible to a wider variety of people, and perhaps even of changing the nature as well as the image of academic work and institutions themselves. The kind of academic work I want to make more visible and accessible on this blog is the work of turning a dissertation into a book manuscript, something I've obviously struggled with for a long time (I started the race and Hawthorne project about 14 years ago and finished the dissertation, The Race for Hawthorne, 8 and a half years ago!), given the other kinds of work I've prioritized in my career thus far (check out the teaching and service parts of my c.v. if you don't believe me).

Since I was fortunate enough to get hired at one of the majority of universities in the U.S. that don't require a book for tenure, I am in my second academic year of actually being a tenured radical. So this blog is really just for me (establishing a daily writing schedule for myself and trying to stick to it; brainstorming, developing, and refining arguments; working with quotations and intertextualities that I might use in the new chapters, which build on stuff that never made it into the dissertation as well as incorporate brand new material; pursuing tangents that don't fit my manuscript chapter breakdown as it stands today but which might end up not being tangential at all; connecting Hawthorne matters to the present; building an audience who might actually decide to buy the book when it comes out; learning to write for specialists in multiple specialties and non-specialists at the same time; etc.) and my readers (whose view of Hawthorne and his works I hope to change; to whom I want to introduce his less-often-read works, debates among Hawthorne scholars, ways of seeing his works in multiple contexts, fields, and literary and cultural dialogues; to whom I want to provide ideas for research and teaching that they can run with on their own, and hopefully report back to me with their results; etc.). I don't foresee building a regular readership with this blog--what could be more boring than checking in every day to see how much closer my dissertation is to a book? But even if all I get are random hits from search engines and the occasional visit from friends, family, and colleagues, it'll still be worth doing.

Now on to the first question. Some things you won't see on this blog: anything to do with my wife or my current students or internal politics at my university; responses to memes or headlines; stuff that can't easily be related to Hawthorne in some way that I really really want to blog on (I created Mostly Harmless, which all of a sudden has become a group blog, for that purpose). I'll continue to blog about my kids when I feel like it here, at least until they're old enough to read about themselves on-line, at which point I'll bow to their wishes--no, check that, the damn manuscript better be done before that happens!

Which leads me to the third question: I'm male and tenured but I'm writing what I've called a "professional/personal blog" under a pseudonym so thin one search or two clicks can blow it away; I limit my links to literary/cultural studies bloggers and group blogs I enjoy reading and whom I'd be flattered to find out are reading this; I've already set up a summer book event with a fellow antebellum lit-alluder, so I'm all about the virtual community building (in fact, my latest analogy for blogoramaville is the now-outdated practice of "calling on" one's friends, acquaintances, allies, and enemies and either leaving a visiting card [sitemeter does it for us] or dropping in for a spot of tea and conversation [leaving a comment]); I'm making public my writing process in hopes of providing support to those trying to finish papers, theses, dissertations, or books (my annoying comments on other people's blogs are aimed at the same target, perhaps); I'm at a stage in my life and career where my "actual" research productivity is going to determine whether another institution would want to try to hire me away from a department I'm very happy to be an active part of and which from the start has welcomed the "new" faculty as equal members of the community (a tradition I look forward to continuing when I return from my Fulbright leave, particularly because we're hiring another pre-20th C Americanist for the first time since my colleagues George Sebouhian and Jim Huffman retired!), so CitizenSE in itself is not going to do much if anything to help me climb any academic ladders (and given the reception of my political blog in its first months, where I played the ineffectual reasonable liberal to my conservative libertarian bomb-throwing friend and co-blogger, may do more harm than good); I'm writing "teh obscurest blog on the intertubes," so to the extent that masses of people are impressed by anything I might write here, all power to them.

Let's see, did I leave anything out? Have I procrastinated long enough?

Yes, and yes. Too long, in fact--my older daughter's been home three hours now from her second day at "school" (a hoikuen is a school-like day care establishment; although no one in our family is a Christian, she's going to a Baptist one b/c the people seemed nice and they're one of the few around that take children before the academic year officially begins in Japan, in April), and I have about 45 emails to get out to my students before the end of the day tomorrow. Tomorrow's close reading will have to be particularly bad!

What Would Hawthorne Say About Gender and BWA?

Well, as someone infamous for his "damned mob of scribbling women" jab, Hawthorne might not be the best person to ask about the gender politics of Blogging While Academic (a kind of "old is the new new" blogologue, as I discovered when I googled "academic blogging"). But this is too easy an out, as the decades of debates over Hawthorne and women, gender, and sex might be deployed to show.

Perhaps, going off my earlier Hawthorne and blogging post, he would have been a low-traffic male blogger using the pen name Oberon, somewhat bitter at the popularity of high-traffic blogs by Lydia Maria Child, Margaret Fuller, Elizabeth Palmer Peabody, and Harriet Beecher Stowe, among others, yet constantly experimenting with various methods of reaching their audiences (might he even have posted some of his love letters to Sophia or thoughts on parenting under the cover of his pseudonym?). Or maybe he would have joined a group blog for a time and then started an individual blog satirizing it. Who knows?

What we do know is that at the very least, Hawthorne created a narrator in "Old News" who opened the sketch with the observation:

Here is a volume of what were once newspapers--each on a small half-sheet, yellow and time-stained, of a coarse fabric, and imprinted with a rude old type. Their aspect conveys a singular impression of antiquity, in a species of literature which we are accustomed to consider as connected only with the present moment. Ephemeral as they were intended and supposed to be, they have long outlived the printer and his whole subscription list, and have proved more durable, as to their physical existence, than most of the timber, bricks, and stone, of the town where they were issued. These are but the least of their triumphs. The government, the interests, the opinions--in short, all the moral circumstances that were contemporary with their publication, have passed away, and left no better record of what they were, than may be found in these frail leaves. Happy are the editors of newspapers! Their productions excel all others in immediate popularity, and are certain to acquire another sort of value with the lapse of time. They scatter their leaves to the wind, as the sibyl did, and posterity collects them, to be treasured up among the best materials of its wisdom. With hasty pens, they write for immortality.

and who ended it with the lament:

the old newspapers had an indescribable picturesqueness, not to be found in the later ones. Whether it be something in the literary execution, or the ancient print and paper, and the idea, that those same musty pages have been handled by people--once alive and bustling amid the scenes there recorded, yet now in their graves beyond the memory of man--so it is, that in those elder volumes, we seem to find the life of a past age preserved between the leaves, like a dry specimen of foliage. It is so difficult to discover what touches are really picturesque, that we doubt whether our attempts have produced any similar effect.

Change newspapers to academic blogs, and the survey of 18th-century Anglo-American new media to a survey of, say, the course of 21st-century academic blogging, and Hawthorne's narrator's observations and laments seem quite current. Given that much 18th-century new media was pseudonymously written, those who diss pseudonymous academic bloggers today may not be being Hawthornesque enough. (If you don't believe me, check out New Media, Old Media, edited by Wendy Hui Kyong Chun and Thomas Keenan: it doesn't specifically address blogging, much less Blogging While Academic, but it does put our latest new media revolution/bubble in historical context and think through the implications.)

And yet those who diss female bloggers in particular seem to be repeating the sentiments of the narrator of "Mrs. Hutchinson," with his dismissive comments about "public women" and "ink-stained Amazons"--or at least enacting his observation:

Fame does not increase the peculiar respect which men pay to female excellence, and there is a delicacy, (even in rude bosoms, where few would think to find it) that perceives, or fancies, a sort of impropriety in the display of woman's naked mind to the gaze of the world, with indications by which its inmost secrets may be searched out.

We sure have come a long way, baby! (Just look at the comments on McLemee's IHE piece....)

But enough history (repeating itself). Here are some predictions: as more Blogging While Academic happens, as more young female bloggers get academic jobs and tenure, and as more untenured radicals start families, Berube's "raw/cooked" or Kaufman's "academic blogging/academics who blog" binaries will become less identifiably gendered; we'll start seeing more full-blown structuralist analyses of Blogging While Academic and stop relying so much on such binaries; and Blogging While Academic will become as normal (in the sense of unremarkable yet not as prevalent as you might expect) as putting your syllabi online.

This is as good a place as any to stop--to be continued Monday, on a more personal tangent.

How Did Faith's Ribbon End Up in Stamp Paid's Hands?

So finally I have a chance to share one of the Morrison-Hawthorne ideas I'm most excited about, and which, more than 10 years since it first came to me, is still original, I believe. The only other time I tried to share some of this was at a job talk almost exactly 9 years ago and people there seemed to think it was new, even if they didn't choose to make me an offer. Since then, although I've taught it in 1999 and 2003 twice, I've been too nervous someone would beat me to it in print to even check if anyone had (makes a lot of sense, right?). In any case, I think the following idea is "new": correct me if I'm wrong!

As you can tell from my previous Hawthorne-Morrison posts, I'm particularly interested in Book 2 of Beloved, which frames and then delivers the "unspeakable thoughts, unspoken" of the women of 124 (and, as I'll show, not only of those women). As I've devoted a few posts to the idea that Beloved is possessed not only by the spirit of Sethe's "crawling-already baby" but also by the spirits of those who died in the middle passage, I want to turn our attention from the monologue to the frame, and particularly to the figure of Stamp Paid, who hasn't gotten nearly the critical attention his place in the novel suggests he deserves. Let's start with a simple question: where did he get the ribbon he holds as he attempts to check in on Sethe, Denver, and Beloved after Paul D has left 124? As this post's title suggests, the answer is going to take us to "Young Goodman Brown." But first it takes us to the Licking River:

Tying his flatbed up on the bank of the Licking River, securing it the best he could, he caught sight of something red on its bottom. Reaching for it, he thought it was a cardinal feather stuck to his boat. He tugged and what came loose in his hand was a red ribbon knotted around a curl of wet woolly hair, clinging stil to its bit of scalp. He untied the ribbon and put it in his pocket, dropped the curl in the weeds. On his way home, he stopped, short of breath and dizzy. He waited until the spell passed before continuing on his way. A moment later, his breath left him again. This time he sat down by a fence. Rested, he got to his feet, but before he took a step he turned to look back down the road he was travelling and said, to its frozen mud and the river beyond, "What are these people? You tell me, Jesus. What are they?"

Before proceeding further with this key passage, let me turn to a similarly important passage from "Young Goodman Brown," one that, it turns out, also involves a ribbon:

But something fluttered lightly down through the air, and caught on the branch of a tree. The young man seized it, and beheld a pink ribbon.

'My Faith is gone!' cried he, after one stupefied moment. 'There is no good on earth; and sin is but a name. Come, devil! for to thee is this world given.'

This is the moment that Goodman Brown, "maddened with despair," sets himself practically flying down the forest-road he has been travelling, into "the heart of the dark wilderness," heading through the "haunted forest" toward the witches' sabbath presided over by a "dark figure" or "sable form" that he had originally set out on his "errand" into the "unconverted wilderness" precisely to reject and turn back from. Morrison has many figures for what triggers a similar despair that grips her characters; for Stamp Paid, as for Goodman Brown, it is a ribbon. Let's go back to Beloved to see what I'm talking about:

Eighteen seventy-four and whitefolks were still on the loose. Whole towns wiped clean of Negroes, eighty-seven lynchings in one year alone in Kentucky; four colored schools burned to the ground; grown men whipped like children; children whipped like adults; black women raped by the crew; property taken; necks broken. He smelled skin, skin and hot blood. The skin was one thing, but human blood cooked in a lynch fire was a whole other thing. The stench stank. Stank up off the pages of the North Star, out of the mouths of witnesses, etched in crooked handwriting in letters delivered by hand. Detailed in documents and petitions full of whereas and presented to any legal body who'd read it, it stank. But none of that had worn out his marrow. None of that. It was the ribbon.

Faith's pink ribbon has turned red, stained by the blood of the black victims of white terrorism during the Reconstruction period. Rather than being ambiguous specter evidence, as the "something" that Young Goodman Brown seizes, beholds, and takes to be damning testimony to his wife's "infidelity" and indeed to the "innate depravity" of all humanity, Stamp Paid's ribbon is all too real, its testimony as speechless and unheard as any of the more formal attempts to stop the deviltry of the KKK and similar terrorist organizations in the postbellum South. Hawthorne scholars tend to read "Young Goodman Brown" as a coded commentary on the Salem Witch Trials and the dangers it taught of taking specter evidence to be real; I believe Morrison is trying to suggest through her "Young Goodman Brown" allusions in Beloved that the violence of the middle passage, slavery, and Reconstruction should be seen as a much great national tragedy. To see the full scale and scope of Morrison's coded suggestion, however, we have to follow this ribbon further, connecting it both to Stamp Paid's and Baby Suggs's despair and to the voices surrounding 124 in Book 2. But the girls are up from their nap, and duties domestic and professional call. Next week, then.

Transnational Hawthorne

Not exactly a link, but I'm not exactly on Fukuoka time, plus my internet connection is down in the office, so I can't turn my Hawaii talk into a .pdf file as planned and give "you all" a link to it. Hopefully by next Thursday or Friday....

In any case, I just came across this graduate course at the University of Maryland being offered in Spring 2007 by Gene Jarrett. Here's the description, then a sentence or two on Gene.

ENGL748A / G. Jarrett

SEMINAR IN AMERICAN LITERATURE: TRANSNATIONAL AMERICAN LITERATURE. What does it mean to study American literature in terms of transnationalism? This course will examine recent Americanist scholarship on the so-called transnational imaginary, as well as transnational representations of cultural, ethnic, or racial similarity and difference in nineteenth- and twentieth-century American literature. The contexts of comparative analysis include British culture, ancient Egypt, the Caribbean, Cuba and cosmopolitanism, anti-imperial internationalism, Afro-Orientalism, and Mexican borderland culture. The primary texts include Henry James's The American Scene, Pauline Hopkins's Of One Blood, Claude McKay's Home to Harlem, Martin Delany's Blake, W. E. B. Du Bois's Dark Princess, and Nathaniel Hawthorne's "Rappaccini's Daughter."

Gene is a dynamo, as his profile suggests. Back when I was an ABD and he was an undergraduate, he somehow talked Toni Morrison into offering a seminar on her own novels for selected undergraduate and graduate students (personally, I would have asked her for classics of African American lit, but I have to admit it was an amazing experience that only he could have initiated). We've pretty much been out of touch since then, or rather only in touch through mutual friends, but I'm glad to see he's teaching Hawthorne in what looks to be an amazing course (I guess The Marble Faun was too long and Anna Brickhouse's work on "RD" is perfect for what he seems to be shooting for). Here's hoping he posts a syllabus online soon!

Why Water Imagery Matters in Hawthorne, Morrison, and Marshall

So we're heading out for Hawaii later today but I am so dissatisfied with my previous Hawthorne-Morrison posting I need to get this one off my chest before we leave and I begin my first-ever CitizenSE vacation.

Too long ago I suggested that Pearl's playing in the sea-side pool with her phantom-like reflection toward the end of The Scarlet Letter had something to do with the most puzzling part of Beloved's stream-of-consciousness monologues near the end of Beloved. It's almost as if Morrison asked herself, what if Hawthorne's pool represented a boundary between the living and the dead? what if Pearl and her reflection had somehow been able to "join" each other? or what if it were really a phantom in the pool and not her reflection? what would have happened if Pearl were possessed by her reflection? And then she imagined Beloved as a vehicle for giving her answers to these questions.

Well, there's another pool in The Scarlet Letter, this one formed by a brook in the middle of the famous forest where Hester and Dimmesdale reunite after seven years apart. Check out the language in these passages, but whatever you do don't dismiss it as mere filler, suspense-building, foreshadowing, or pathetic fallacy. To help you along, I'll italicize key SL phrases and break the flow of the passage in order to note Beloved resonances and crossings after them. So let's visit this forest brook and keep an eye on Pearl and her reflection:

It was a little dell where they had seated themselves, with a leaf-strewn bank rising gently on either side, and a brook flowing through the midst, over a bed of fallen and drowned leaves.

connection to "what it is down there" from the end of Beloved? could these leaves symbolize those who died in the middle passage or in attempted escapes from slavery or in post-slavery lynchings and other racialized violence?

The trees impending over it had flung down great branches, from time to time, which choked up the current, and compelled it to form eddies and black depths at some points; while, in its swifter and livelier passages, there appeared a channel-way of pebbles, and brown, sparkling sand.

think of the collar around the woman's neck in the middle passage scenes from the monologue for the choking up part; for the second, think of the compulsion to repeat or the compulsion to testify often associated with the kinds of traumatic experience Morrison not only writes on but makes crucial to the form of the novel (consider what triggers various characters' flashbacks and how the order in which events are narrated itself follows a traumatic logic--and think of the course of the stream in The Scarlet Letter as something like the form of Beloved

Letting the eyes follow along the course of the stream, they could catch the reflected light from its water, at some short distance within the forest, but soon lost all traces of itamid the bewilderment of tree-trunks and underbrush,

a line seemingly modified at the very end of Beloved....

and here and there a huge rock, covered over with gray lichens. All these giant trees and boulders seemed intent on making a mystery of the course of this small brook; fearing, perhaps, that, with its never-ceasing loquacity, it should whisper tales out of the heart of the old forest whence it flowed, or mirror its revelations on the smooth surface of a pool.

what does this stream connect to, Morrison might have asked--what is its source and destination? and just what do those trees symbolize? what might they be trying to block or hide? and what tales might the stream tell?

Continually, indeed, as it stole onward, the streamlet kept up a babble, kind, quiet, soothing, but melancholy, like the voice of a young child that was spending its infancy without playfulness, and knew not how to be merry among sad acquaintances and events of sombre hue.

Denver? the crawling-already baby? both?

"O brook! O foolish and tiresome little brook!" cried Pearl, after listening awhile to its talk. "Why art thou so sad? Pick up a spirit, and do not be all the time sighing and murmuring!"

But the brook, in the course of its little lifetime among the forest-trees, had gone through so solemn an experience that it could not help talking about it, and seemed to have nothing else to say.

The child went singing away, following up the current of the brook, and striving to mingle a more lightsome cadence with its melancholy voice. But the little stream would not be comforted, and still kept telling its unintelligible secret of some very mournful mystery that had happened

trauma and testimony key in Beloved--what traumatized the brook? is it like the voices Stamp Paid hears outside 124? what secret and mystery might Morrison pondered in the writing of Beloved....

--or making a prophetic lamentation about something that was yet to happen--within the verge of the dismal forest....

Just where she had paused the brook chanced to form a pool, so smooth and quiet that it reflected a perfect image of her little figure, with all the brilliant picturesqueness of her beauty, in its adornment of flowers and wreathed foliage, but more refined and spiritualized than the reality. The image, so nearly identical with the living Pearl, seemed to communicate somewhat of its own shadowy and intangible quality to the child herself.

Almost a metaphor for being possessed by your own reflection, isn't it?

It was strange, the way in which Pearl stood, looking so steadfastly at them through the dim medium of the forest-gloom; herself, meanwhile, all glorified with a ray of sunshine, that was attracted thitherward as by a certain sympathy. In the brook beneath stood another child,--another and the same,--with likewise its ray of golden light. Hester felt herself, in some indistinct and tantalizing manner, estranged from Pearl; as if the child, in her lonely ramble through the forest, had strayed out of the sphere in which she and her mother dwelt together, and was now vainly seeking to return to it.

There was both truth and error in the impression; the child and mother were estranged, but through Hester's fault, not Pearl's. Since the latter rambled from her side, another inmate had been admitted within the circle of the mother's feelings, and so modified them all, that Pearl, the returning wanderer, could not find her wonted place, and hardly knew where she was

sounds to me like Denver's and the baby ghost's reaction to Paul D's initial presence in 124....

"I have a strange fancy," observed the sensitive minister, "that this brook is the boundary between two worlds, and that thou canst never meet thy Pearl again."

ah ha! didn't I call it at the beginning of this post? and I didn't even remember this passage until I typed it in!

...alone as she was in her childish and unreasonable wrath, it seemed as if a hidden multitude were lending her their sympathy and encouragement. Seen in the brook, once more, was the shadowy wraith of Pearl's image, crowned and girdled with flowers, but stamping its foot, wildly gesticulating, and, in the midst of it all, still pointing its small forefinger at Hester's bosom!

again, we have "voices of 124"/"unspeakable thoughts, unspoken" connections, as well as the idea that Beloved was more than just a single person....

...And the melancholy brook would add this other tale to the mystery with which its little heart was already overburdened, and whereof it still kept up a murmuring babble, with not a whit more cheerfulness of tone than for ages heretofore

as if the tale of Beloved's death is part of a much-longer and much-larger mysterious, traumatizing history....

***

As long as I've got quotation fever, let me end by quoting from some related passages from Marshall's The Chosen Place, The Timeless People, which I think also influenced Morrison's coded allusions to the middle passage in Beloved:

It was the Atlantic this side of the island, a wild-eyed, marauding sea the color of slate, deep, full of dangerous currents, lined with row upon row of barrier reefs, and with a sound like that of the combined voices of the drowned raised in a loud unceasing lament--all those, the nine million and more it is said, who in their exnforced exile, their Diaspora, had gone down between this point and the homeland lying out of sight to the east. This sea mourned them. Aggrieved, outraged, unappeased, it hurled itself upon each of the reefs in turn and then upon the shingle beach, sending up the spume in an angry froth which the wind took and drove in like smoke over the land. Great boulders that had roared down from Westminster centuries ago stood scattered in the surf; these, sculpted into fantastical shapes by the wind and water, might have been gravestones placed there to commemorate those millions of the drowned.

...here on this desolate coast, before this perpetually aggrieved sea which...continued to grieve and rage over the ancient wrong it could neither forget nor forgive.

...they seemed to be puzzling over the sea in front of them which was so different from the mild Caribbean on their side of the island. Their wondering faces raised, they appeared to be asking the reason for its angry unceasing lament. What, whom did it mourn? Why did it continue the wake all this time, shamelessly filling the air with the indecent wailing of a hired mute? Who were its dead? Despairing of finding an answer they would turn away eventually and, leaving the young people romping in the surf, make their way slowly back to the village in time for the car race along the main road.

If you liked these passages from Marshall's novel, you might want to check out another passage I quoted on my other blog to honor the end of Le Blogue Berube. When I get back from my conference and blog vacation, I'll continue with the Hawthorne-Morrison thing, this time finally following through on the issue of specter evidence in "Young Goodman Brown" and Beloved!

The Many-Headed Hydra in Hawthorne's Tales and Sketches

Peter Linebaugh and Marcus Rediker's The Many-Headed Hydra: Sailors, Slaves, Commoners, and the Hidden History of the Revolutionary Atlantic, should be required reading for all Hawthornists. In the way it deals with transatlantic Puritan radicalism and its connections with political, social, and economic radicalism in the centuries before and during which race was codified as a scientific and legal institution, it provides as important a context for Puritan Studies as does the more top-down global history of the same period by Thomas Bender in the similarly-important study A Nation among Nations: America's Place in World History. Of course the revolutionary Atlantic is a place Melville scholars should know well, even if not enough of them have read C.L.R. James. But those who think Hawthorne simply ignored, denied, or disavowed this world have not read his tales and sketches closely enough.

What follows is an incomplete list of pirates, sailors, slave traders, India traders and others that can be found in the Tales and Sketches Library of America edition of Hawthorne's works. Just so y'all don't think I was overreading or anything in my Conde/Mukherjee post forever ago....

"Sir William Phips": this biographical sketch of an early colonial governor not only sheds light on The Scarlet Letter and Hawthorne's relation to Cooper but perhaps shows what Faulkner's Thomas Sutpen might have been dreaming about when he left Appalachia for the Caribbean after his encounter with the plantation system.

In this state of society the future governor grew up, and many years after, sailing with a fleet and an army to make war upon the French, he pointed out the very hills where he had reached the age of manhood, unskilled even to read and write. The contrast between the commencement and close of his life was the effect of casual circumstances. During a considerable time, he was a mariner, at a period when there was much licence on the high seas. After attaining to some rank in the English navy, he heard of an ancient Spanish wreck off the coast of Hispaniola, of such mighty value, that, according to the stories of the day, the sunken gold might be seen to glisten and the diamonds to flash, as the triumphant billows tossed about their spoil. These treasures of the deep (by the aid of certain noblemen, who claimed the lion's share) Sir William Phips sought for, and recovered, and was sufficiently enriched, even after an honest settlement with the partners of is adventure. That the land might give him honor, as the sea had given him wealth, he received knighthood from King James....

Hawthorne's narrator then goes on to imagine a day in the life of Governor Phips, noting various details that can be related to Linebaugh and Rediker, Bender, Conde, Mukherjee, and others:

Just emerging from the door are two footmen, one an African slave of shining ebony, the other an English bond-servant, the property of the governor for a term of years....

Another object of almost equal interest, now appears in the middle of the way. It is a man clad in a hunting shirt and Indian stockings, and armed with a long gun; his feet have been wet with the waters of many an inland lake and stream, and the leaves and twigs of the tangled wilderness are intertwined with his garments; on his head he wears a trophy which we would not venture to record without good evidence of the fact,--a wig made of the long and straight black hair of his slain savage enemies. This grim old heathen stands bewildered in the midst of King-street. The governor regards him attentively, and recognizing a playmate of his youth, accosts him with a gracious smile, inquires as to the prosperity of their birth place and the life and death of their ancient neighbors, and makes appropriate remarks on the different stations allotted by fortune to two individuals, born and bred besides the same wild river. Finally, he puts into his hand, at parting, a shilling of the Massachusetts coinage, stamped with the figure of a stubbed pine tree, mistaken by King Charles for the oak which saved his royal life. Then all the people praise the humility and bountifulness of the good governor, who struts onward flourishing his gold-headed cane, while the gentleman in the straight black wig is left with a pretty accurate idea of the distance between himself and his own companion....

A great crowd of people is collected on the common, composed of whole families, from the hoary grandsire to the child of three years old; all ages and both sexes look with interest on the array of their defenders; and here and there stand a few dark Indians in their blankets, dull spectators of the strength that has swept away their race.... After a variety of weary evolutions, evening begins to fall, like the veil of gray and misty years that have rolled betwixt that warlike band and us.

This apparent acquiescence to what scholars today call "the myth of the Vanishing American" is particularly striking in light of the controversies over Jackson's Indian Removal policy. Even more striking is the implicit contrast between "that warlike band and us," in a decade characterized by the Trail of Tears and several Indian wars. Writing here from the beginning of the decade, Hawthorne missed the signs apparent even then that there were to be more continuities between the era of King Philip's War and his own.

"Dr. Bullivant": this sketch gets into social changes in the New England colonies over the course of the 17th C but focuses on its last 30 years in particular. In some ways, this is a less mythic and more historicized version of events taking place later than "The May-pole of Merry Mount" and somewhat reversing the implications which Hawthorne drew out of Endicott's actions in that story.

This gradual but sure operation [the passing away of older, more pious Puritans and an accompanying "relaxation" in society's "theory and practice of morals and religion"] was assisted by the increasing commercial importance of the colonies, whither a new se of emigrants followed unworthily in the track of the pure-hearted Puritans. Gain being now the allurement, and almost the only one, since dissenters no longer dreaded persecution at home, the people of New-England could not remain entirely uncontaminated by an extensve intermixture with worldly men. The trade carried on by the colonists, (in the face of several inefficient acts of Parliament,) with the whole maritime world, must have had a similar tendency; nor are the desperate and dissolute visitants of the country to be forgotten among the agents of a moral revolution. Freebooters from the West Indies and the Spanish Main,--state criminals, implicated in the numerous plots and conspiracies of the period,--felons, loaded with private guilt,--numbers of these took refuge in the provinces, where the authority of the English king was obstructed by a zealous spirit of independence, and where a boundless wilderness enabled them to defy pursuit. Thus the new population, temporary and permanent, was exceedingly unlike the old, and far more apt to disseminate their own principles than to imbibe those of the Puritans.

There's much more from this sketch of interest, but let's continue with our maritime theme.

"Sights from a Steeple": Almost twenty years before "The Custom-House," Hawthorne was quite aware of where much of New England's wealth came from.

I can even select the wealthiest of the company [of gentlemen]. It is the elderly personage in somewhat rusty black, with powdered hair, the superfluous whiteness of which is visible upon the cape of his coat. His twenty ships are wafted on some of their many courses by every breeze that blows, and his name--I will venture to say, though I know it not--is a familiar sound among the far separated merchants of Europe and the Indies.

"Edward Fane's Rosebud":

She can speak of strange maladies that have broken out, as if spontaneously, but were found to have been imported from foreign lands, with rich silks and other merchandise, the costliest portion of the cargo.

"Egotism; or, the Bosom-Serpent":

It was a dark-browed man, who put the question; he had an evasive eye, which, in the course of a dozen years, had looked no mortal directly in the face. There was an ambiguity about this person’s character--a stain upon his reputation--yet none could tell precisely of what nature; although the city-gossips, male and female, whispered the most atrocious surmises. Until a recent period, he had followed the sea, and was, in fact, the very ship-master whom George Herkimer had encountered, under such singular circumstances, in the Grecian Archipelago.

"The Intelligence Office": Supten? Paging Mr. Sutpen. Are you there, sir? Please report to the Intelligencer. Are you there, Mr. Sutpen?

The next that entered was a man beyond the middle age, bearing the look of one who knew the world and his own course in it. He had just alighted from a handsome private carriage, which had orders to wait in the street while its owner transacted his business. This person came up to the desk with a quick, determined step, and looked the Intelligencer in the face with a resolute eye; though, at the same time, some secret trouble gleamed from it in red and dusky light.

"I have an estate to dispose of," said he, with a brevity that seemed characteristic.

"Describe it," said the Intelligencer.

The applicant proceeded to give the boundaries of his property, its nature, comprising tillage, pasture, woodland, and pleasure-grounds, in ample circuit; together with a mansion-house, in the construction of which it had been his object to realize a castle in the air, hardening its shadowy walls into granite, and rendering its visionary splendor perceptible to the awakened eye. Judging from his description, it was beautiful enough to vanish like a dream, yet substantial enough to endure for centuries. He spoke, too, of the gorgeous furniture, the refinements of upholstery, and all the luxurious artifices that combined to render this a residence where life might flow outward in a stream of golden days, undisturbed by the ruggedness which fate loves to fling into it.

"I am a man of strong will," said he, in conclusion; "and at my first setting out in life, as a poor, unfriended youth, I resolved to make myself the possessor of such a mansion and estate as this, together with the abundant revenue necessary to uphold it. I have succeed to the extent of my utmost wish. And this is the estate which I have now concluded to dispose of."

"And your terms?" asked the Intelligence, after taking down the particulars with which the stranger had supplied him

"Easy--abundantly easy!"” answered the successful man, smiling, but with a stern and almost frightful contraction of the brow, as if to quell an inward pang. "I have been engaged in various sorts of business--a distiller, a trader to Africa, an East India merchant, a speculator in the stocks--and, in the course of these affairs, have contracted an encumbrance of a certain nature. The purchaser of the estate shall merely be required to assume this burthen to himself."

"I understand you," said the Man of Intelligence, putting his pen behind his ear. "I fear that no bargain can be negotiated on these conditions. Very probably, the next possessor may acquire the estate with a similar incumbrance, but it will be of his own contracting, and will not lighten your burden in the least."

"And am I to live on," fiercely exclaimed the stranger, "with the dirt of these accursed acres, and the granite of this infernal mansion, crushing down my soul? How, if I should turn the edifice into an almshouse or a hospital, or tear it down and build a church?"

"You can at least make the experiment," said the Intelligencer; "but the whole matter is one which you must settle for yourself."

The man of deplorable success withdrew, and got into his coach, which rattled lightly over the wooden pavements, though laden with the weight of much land, a stately house, and ponderous heaps of gold, all compressed into an evil conscience.

There's much more, but for today let's end with a passage from Lathrop's study of Hawthorne:

Each town had a special trade, and kept the monopoly. Portsmouth and Newburyport ruled the trade with Martinique, Guadaloupe, and Porto Rico, sending out fish and bringing back sugar; Gloucester bargained with the West Indies for rum, and brought coffee and dye-stuffs from Surinam; Marblehead had the Bilboa business; and Salem, the most opulent of all, usurped the Sumatra, African, East Indian, Brazilian, and Cayenne commerce.

More on this next Wednesday, if we get back from Hawaii soon enough to blog!

Marshall, Devi, and Militant Mourning

Here's a long passage from Paule Marshall's The Chosen Place, The Timeless People, part of which I'll be discussing during my Marshall/Devi talk in Hawaii on Friday, featuring American radical anthropologist Saul Amron's response to Bournehills organic intellectual Merle Kinbona's room as he watches over her while she is in a kind of coma, rendered in free indirect discourse by the semi-omniscient, semi-objective narrator of the novel:

But the room expressed something more, it suddenly seemed to his own overtaxed and exhausted mind, something apart from Merle. It roused in him feelings about Bournehills itself. He thought he suddenly saw the district for what it was at its deepest level, the vague thoughts and impressions of months coming slowly to focus. Like the room it, too, was a kind of museum, a place in which had been stored the relics and remains of the era recorded in the faded prints on the walls [of slave ships and plantation labors and punishments], where one not only felt that other time existing intact, still alive, a palpable presence beneath the everyday reality, but saw it as well at every turn, often without quite realizing it. Bournehills, its shabby woebegone hills and spent land, its odd people who at times seemed other than themselves, might have been selected as the repository of a history which reached beyond it to include the hemisphere north and south.

And it would remain as such. The surface might be jarred as it had been by the events today [the closing of the Cane Vale factory in which the Bournehills natives who own land have traditionally brought the sugar cane they have grown and harvested on their own time to be processed]. People like himself would come seeking to shake it from its centuries-old sleep and it might yield a little. But deep down, at a depth to which only a few would be permitted to penetrate, it would remain fixed and rooted in that other time, serving in this way as a lasting testimony to all that had gone on then: those scenes hanging on the walls, and as a reminder--painful but necessary--that it was not yet over, only the forms had changed, and the real work was still to be done; and finally, as a memorial--crude in the extreme when you considered those ravaged hills and the blight visible everywhere, but no other existed, they had not been thought worthy of one--to the figures bound to the millwheel in the print and to each other in the packed, airless hold of the ship in the drawing.

Only an act on the scale of Cuffee's [leader of a slave revolt that freed Bournehills for a time] could redeem them. And only then would Bournehills itself, its mission fulfilled, perhaps forgo that wounding past and take on the present, the future. But it would hold out until then, resisting, defying all efforts, all the halfway measures, including his, to reclaim it; refusing to settle for anything less than what Cuffee had demanded in his time.

I know this is Close Reading Tuesday and all, but I have to follow this up with a passage from Mahasweta Devi's "Pterodactyl, Puran Sahay, and Pirtha," for the juxtaposition of these two passages gets to the heart of my talk's argument about the meaning, significance and stakes of the similarities and differences between Marshall's and her take on militant mourning; in it, Pirtha can be compared to Bournehills, Puran Sahay to Saul Amron, Shankar to Merle Kinbona, and Bikhia to someone like Stinger or the residents of Bourne Island's Harlem Heights, a shanty town on the outskirts of Bourne Island's capital city (italics are reproduced as in the translation, to indicate words in English in the original novella):

Bikhia, the only discoverer of the embodied ancestral soul, gives everyone oil from a small bowl at the point of a twig in a ceremonial way.

Why does this boy observe the same rule in the matter of the form of the ancestral soul as is appropriate to the funeral rites of the formerly living? No one asks this question.

Did he see its death?

No questions asked.

Did he cremate or bury it?

No questions asked.

But the flow of excitement travels like a current of electricity.

Did the soul of the ancestors come in this way? Or didn't it?

Pirtha knows, it knows.

Did they fall into mourning at a dreadful news? Pirtha knows, it knows.

There are many rites after the oil bath, Pirtha will perform them as needed.

Puran realizes that the crisis of the menaced existence of the tribals, of the extinction of their ethnic being, pushed and pushed them toward the dark.

Looking at Bikhia's tawny matted hair, freshly shaven face,he understood they were being defeated as they were searching for a reason for the ruthless unconcern of government and administration. It was then that the shadow of that bird with its wings spread came back as at once myth and analysis.

This is a new myth. For the soul of those long dead will return hundreds of years later in the form of an unknown tired bird. Such a thing is probably not even there in their oral tradition.

But from now on they will wait in their suffering and in evil times for that shadow, otherwise this deception cannot be humanly explained.

Having drawn that stone tablet Bikhia is the guardian of the new myth. He will protect it.

And this mourning, this "oil bath" has given them an assurance. Now something has happened that is their very own, a thing beyond the reach of the understanding and grasp and invasion and plunder of the outsider....

Shankar says softly, "...But we will not leave Pirtha."

He looks around and says, "Why should we leave? Isn't this our place? Now no tribal will leave. The ancestors' soul let us know that all the places it visited are ours. Can anyone leave anymore, or will they leave?"

--Is that what it let you know? Who told you this?

--Bikhia.

Shankar says triumphantly.

Puran shakes and shakes his head. They will not leave, they will not go anywhere leaving those stones, hills, caves, and river. To the fertile fields, to the plains, where there is plenty of water, and many supports for survival.

--If they want to give us aid, let them give it to us here.

Spreading his arms, he says, "All this land was ours, the kings took it from us. They were supposed to return it to us, to whom did they give it back? No, we won't go anywhere. Let them give us our dues here."

Both Devi and Marshall draw intimate connections between mourning and militancy, in these and other passages where it either happens or fails to happen for native or outsider individuals. Where Marshall might be read as celebrating a kind of postcolonial melancholia, or at least a work of mourning so protracted and massive that it takes on aspects of melancholia, Devi might be read as celebrating the completion of the work of mourning, a move from individual and collective despair and depression toward hope and resolve. But both seek to subvert and reimagine classic colonialist and racist stereotypes--of backward, primitive peoples trapped in the past by their irrational attachment to ancestral lands and traditions; of the superiority of civilization, progress, modernity, modernization, development--by showing that trauma has a history and a presence, by showing that mourning has a politics and a promise. In a sense, the apparition and passing of the pterodactyl in Devi's novella plays a similar role that Cuffee Ned's rebellion and leadership during Bournehills' brief period of independence plays in Marshall's novel: both provide material for a new story, a new myth, a new sense of identity to be created out of a past and present that seem to offer little but oppression and exploitation--all of which offer resources for survival and endurance of the repeated repetition of the traumatic history of enslavement and conquest which forms the past of Marshall's novel and, in Puran's vision, at least, the likely future of the people of Pirtha in Devi's novella, long enough to perhaps change or end it.

The distance between the realistic reports the outsider protagonists end up submitting and what Marshall and Devi try to achieve in their fiction--and their relation--is worth developing further. But I'm going back to Hawthorne the next two days, then taking a break from blogging until we return from Hawaii on the 17th. I'll report on how the talk and conference went soon afterwards and then in February devote several posts to breaking the talk down into blog-post-sized chunks. Tomorrow I plan to return to the sea and Hawthorne's relationship to Mukherjee/Conde and Thursday before we leave for Hawaii to the brook in The Scarlet Letter and its relation to Beloved.