Time Flies When You're Not on a Schedule

I've been keeping up with my kids/family blogging mostly at Mostly Harmless, but I'm going to take advantage of the freedom from the CitizenSE Programming Schedule to fill you in on the events of the extended weekend and the doings of the Dramatis Personae here in Fukuoka. With less than two months to go in the Fulbright year, we are already missing it and already nostalgic for it. So we've been doing a lot together as a family and meeting other families, trying to pack as much into the time remaining here that we can.

Onechan has started taking swimming lessons on Fridays with her yochien classmates, so after giving her a few sessions on her own "to get her feet wet" without us, this past Friday we decided to see what it was like. We got to take a 10-minute bus ride from the yochien to the pool, riding with the middle class of three in her yochien, their teacher, and the other parents (well, moms) and younger siblings. It was a lot of fun to see and hear the kids' rapid mood swings, from the excited race to the yochien gate to see who would be first to get in line for the bus to the exuberant conversation as the bus left the school bus to the first dispute that lead to tears to getting excited again as the bus pulled into the pool lot. We could only wonder what onechan's ride was like--the younger and older classes were on a different bus. When we got to the pool, we waited with the other moms and younger siblings in a glass-enclosed area as the yochien kids went into the locker room to change and eventually emerged into the pool area. All three classes had to march in, following their leader, then line up for warm-up dancing/stretching, then march over to the part of the lane that was blocked off for them. Onechan was in a group of two girls and two boys (the youngest in the yochien). They practiced getting in the pool, jumping up and down in the water, getting water on their face and heads (and wiping it away from their eyes), holding hands and converging on the center of their circle and moving back away from it, going under and inside and under and outside a floating hula hoop (which invariably got raised a bit so they wouldn't have to submerge completely if they didn't want to), then going through the same hula hoop held perpendicular to and partly above the water surface (most would lift it higher so they could get under without getting their faces wet), then running in a circle while the teacher made waves, and on to other games to get them comfortable in the water and used to being wet. Right next to them, the middle and oldest classes were running through the same exercises more quickly and going on to more advanced things. There was no real drama, except when onechan tripped and her teacher had to do a quick rescue (she didn't cry at the time, only when they were waiting for the bus to return to the yochien, and then only for a little bit), but it was totally hilarious and cute to watch her and her friends in the water. You could really see the kids' personalities in the different ways they approached doing the same thing--and how different many of them were in the water from the way we were used to seeing them in the playground at the yochien. We got a bit sad that we wouldn't get to see onechan doing what the middle and oldest classes did in the coming years, but for the most part were too busy cracking up to worry at the time.

The next day, we also got to see a bunch of kids together--this time, ages 4-12--when we sat in on an English Day for an elementary school that one of my Japanese professor friends helped organize and which his oldest daughter attends. Like with the swimming lessons, the kids were divided into groups by age and performed skits or sang songs that allowed them to learn together, without anyone being put on the spot or singled out. With all the parents and younger siblings in attendance for this two-hour program, there must have been 50 kids and 30 adults there. My friend said that he started volunteered in April, teaching English for the youngest kids after school; each week, more and more kids signed up, until he had to start turning them away after the class reached double digits. So there's great interest and enthusiasm in English in this eastern suburb of Fukuoka. After the program ended, we visited the professor's family at their house. The girls loved playing with their 6-year-old girl, 4-year-old boy, and 3-year-old boy. We went shopping at Costco for barbecue materials and ended up staying until 10 pm. We would have stayed overnight with them, but we didn't bring diapers for imoto and we had another meeting set up with a different Japanese professor's family in a different part of town on Sunday morning. This visit also involved a train ride out of the central city area and then a car ride to their actual residence. The girls had a great time playing with their 3-year-old daughter and her neighbors at their small apartment complex. Onechan never quite got the hang of riding a bike or jumping rope, but she sure got a lot of practice. And imoto learned what skinning her knee felt like, as she kept trying to walk too fast on the sloped and rough pavement. We got a chance to talk about living in the States with the professor and his wife, the first of many conversations to come, as they will be moving to western Pennsylvania in late July so he can do some advanced graduate work and professional development. We're already looking ahead to getting together in the States.

One of the amazing things about the Fulbright year has been seeing what the lives of couples with young children in Fukuoka are like. We've been fortunate to get to know many families with infants through the kominkan system, many parents with pre-school kids through onechan's yochien, international couples with largely younger children through the Mixi group that meets at various places in the city as well as online, and even some families with kids in elementary and secondary schools through my faculty contacts. It's given us a lot to think about in terms of what's best for our own children and what options we can and should pursue as an international family.

But home is calling us, too. There have been a few births among faculty friends and news of more to come in the fall and winter. There have been new hires in my department and elsewhere. We're already making plans to send our stuff back to the States, get the utilities for the house back in our name, and have a new Prius ready for us to buy when we get back in mid-August. The tsuma is signing up for courses in her Masters in Library Science program that starts in late August around the time my semester does. It's hard to anticipate how much the place has changed in our absence--or assess how much we have. But it's hard not to try.

Maybe imoto's recent clinginess--calling for her mom whenever she's out of sight, wanting me to hold her as much as possible and crying when I leave for work--is tied to this feeling we have of being in two places at once, and neither. Speaking of which, it's time to finish what I need to do here in the office and head home!

Taking Off the Training Wheels

What a crazy week! From a feverish day and night before I started teaching to almost losing my voice while teaching, I am sad to report that my health has been at its worst since January. The measles epidemic sweeping Japan has reached Fukuoka, which shouldn't affect my family, since we've all been vaccinated (even imoto, although hers may not kick in fully until next week), but since the strain here may be different than what onechan and I have been inoculated against, and since it is rampaging among the college-age population in Japan (most of whom never got vaccinated as children), I'm not going to be taking any chances. So that means more sleep and fewer late nights/early mornings. On top of that, I have four lectures to give in June and July, which is a lot for me, and I'm getting drawn deeper into the rhythm of the book manuscript's revision and addition process. Plus, the second week of June I'll be spending almost a week in the Tokyo/Chiba area with limited internet access and the week after that I'll be taking off a couple of days to meet up with friends visiting Japan in the Kyoto area. After that, I can foresee lots of meetings with students as they work on their final projects, grading, preparing my American classes, and getting ready to return to the States.

The upshot for CitizenSE is not that I'll be going on a leave or anything as drastic as that. But, from June through August, I will be ending the programming schedule that's sustained and structured my blogging here since December 2006. (Look for a new one in September, once I've figured out the rhythm of my semester back home.) For the next three months I won't be putting pressure on myself to maintain the 7 days/week schedule I've done a pretty decent job of sticking to, all things considered. And I won't be visiting my blogroll nearly as often as I've done this spring. I'll still be labelling posts that fit the old programming schedule's categories as appropriate, disregarding what day they happen to fall on. And I may be trying out some new labels/categories. But I'll be following a more organic flow from post to post, developing some ongoing series, and weaving the many loose ends I've left hanging for a while back into the mix.

Hope you like it!

Labor Theories of Blogging

Ah, I'm coming far too late to the left theory blogs' discussion of blogging and/as labor and I'm too feverish to even think about linking to any of the participants' posts or contributing somthing original, but I can point interested people in the direction of Teresa Goddu's essay on Hawthorne and class, an excellent linking of "Mr. Higginbotham's Catastrophe" and "Ethan Brand" that focuses on Hawthorne's representation and use of laborers in antebellum U.S. fiction. It's in What Democracy Looks Like, ed. Amy Shrager Lang and Cecelia Tichi, and I recommend the entire collection for reasons I will explain later. My basic idea for the connection is that blogging is a form of publishing as emergent as short stories were in the 1830s-1840s U.S. Goddu's analysis of what work Hawthorne's representations and narratives do--for himself, for the emergent middle class--is worth connecting to labor theories of blogging. More on that later--got to get well enough to teach tomorrow!

What Would Hawthorne Say About YouTube?

Seeing as how he didn't put his older kids in school almost the entire time his family was in England, only intermittently hired someone to watch/teach them, and that he and Sophia's "home schooling" efforts were desultory by today's standards, I think he would have appreciated it as a way to broaden his kids' horizons. Onechan certainly does and it's fun to watch with her.

CitizenSE's Latest Really Really Crazy Idea

Doing three public lectures in my last month in Fukuoka on representing Japan in U.S. culture. True, it's "only" a matter of working up course lecture notes and ideas, but what am I thinking?

Well, I'm planning to focus on three decades--the '40s, '80s, and our own--with a bit of history in the first two to set up my examination of how images and interactions got to and went from historical lows. If anyone cares to point me to image archives, youtube files, and other sources I may have overlooked, feel free. I'll be posting on my progress over at Mostly Harmless, unless there's a literary angle I can emphasize here (and there will be). I have to get these things done quick so they can be translated!

My only consolation is that even three of these will be easier to write than the one I talk about here.

Perhaps Google Needs to Work on Its Ranking Algorithms

Don't get me wrong--I'm flattered that this "multicellular microorganism" in the vasty blogular ecosystem of TTLB shows up second on google searches for "gothic and Enlightenment" just because of yesterday's unfinished post. I'm rather fond of it, to tell you the truth, but does it really deserve to come before Douglass Thomson's review of A Companion to the Gothic (2000) or Ruth Bienstock Anolik's review of William Brown's The Gothic Text (2004) or the Robert Miles-edited "Gothic Technologies: Visuality in the Romantic Era" issue of the Romantic Circles Praxis Series (2005)? Even on google blog search, is it right that my almost-post is listed ahead of John Holbo's call for papers and Miriam Burstein's musings on historical ghosts? I think not.

Now, I'm not saying that google's web and blog searches should imitate google scholar completely. Just that some measure of the quality, depth, and interest of a site/post should be incorporated into google search and ranking algorithms. Since that seems pretty difficult for them to do, let me propose instead that all five people reading this go now and link to the above pages and posts to drive that particular CitizenSE post down to the bottom of the first page where it belongs!

That said, I am perversely pleased that my plug for my friend Mike Davis's Reading the Text That Isn't There: Paranoia in the Nineteenth-Century American Novel in a comment over at Hug the Shoggoth (where the race and decay blogging is doing quite well, thank you) is ranked third on this google search. (Little-known and less-cared-about fact: the Davis duo will be visiting Japan in June!)

This public service announcement brought to you by The Hey, It's in the Mid-70s on a Friday in May, for Crying Out Loud, Subcommittee of the Celebrate the Weekend Early Committee.

Colonial, Antebellum, Postbellum Hauntings

In my Haunting America course, we're starting off with a fast tour through landmarks in the history of literary hauntings and possessions in and near the U.S.: after a look at Dickinson the first two weeks of the semester, early narratives on the Salem Witch Trials and the Virgin of Guadalupe started off our historical survey, followed quickly by views of Young Goodman Brown, La Llorona, and La Malinche, visits to Irving's Sleepy Hollow and Poe's House of Usher, and considerations of the structures of Stowe's and Chesnutt's haunted rooms and narratives. Our aim has been to identify similarities and differences in the uses of ghosts and spirits in colonial, antebellum and postbellum American literature as much as it has been to test out different approaches to reading hauntings--and in the coming weeks we'll look at works by Ambrose Bierce and Lafcadio Hearn to refine our initial ideas and methods. Here I'll recap some of the results of this tour and mention some specific juxtapositions and divergences worth exploring further.

The basic idea I've been trying to get across to the students to this point in the course is the difference the Enlightenment makes in the ways in which hauntings are treated in American literatures. Before the Enlightenment, the narrators of the stories of the apparition of the Virgin of Guadalupe and the specters tormenting Salem Village residents take great pains to establish the reality and truth of the hauntings they represent. Although they differ in associating the hauntings with God and the Devil, they coincide in acknowledging yet attempting to overcome skeptics and doubters who look for other than supernatural explanations for the events they represent. Juan Diego, the protagonist of the Virgin of Guadalupe narrative, has to convince the colonial authorities in Mexico City to build a shrine to the Virgin in the mountains and after three visits he finally does (with the help of some well-timed miracles). Cotton Mather, although acknowledging the argument that specter evidence could be faked by the Devil or his agents ("who's to say whether the images of Scott Eric Kaufman and Joseph Kugelmass doing those unspeakable things to those texts over there are really their specters, or that they really sent them over there to do that?"), works to justify the Salem Witch Trial verdicts--and executions. These kinds of colonial narrators show up as protagonists in Irving's "The Legend of Sleepy Hollow," Hawthorne's "Young Goodman Brown," and Poe's "The Fall of the House of Usher," but now they are framed by Enlightenment-era narrators who cast Ichabod Crane's, Goodman Brown's, and Roderick Usher's susceptibility to belief in the reality of ghosts as irrationality (in the modes of humor, irony, and horror, respectively). Irving's anthropological emphasis, Hawthorne's historical allusions, and Poe's symbolic methods are used not to dismiss the irrational but instead to examine it, its effects, and its consequences. Antebellum literary hauntings, that is, stage the encounter between pre-Enlightenment and Enlightenment modes of dealing with ghosts.

This basic distinction allowed me to frame the various uses of the gothic in Dickinson and Stowe as well as in Irving, Hawthorne, and Poe--by linking the explained or rational gothic and the supernatural gothic to Enlightenment and pre-Enlightenment modes of thinking, I was able to help my students track the function of ghosts in their works and specify their related but distinctive fascinations with the shadows, blind spots, and nightmares of the Enlightenment. Before going into a few examples from Poe, Stowe, and Chesnutt, let me mention that these commonplaces in American literary history and Western intellectual history seemed to fascinate my students, who have interesting and complex relationships to the various religious traditions and beliefs about ghosts, spirits, and demons in Japan (I chose Hearn to end the "Postbellum Hauntings" unit precisely so we could revisit our earlier discussion of cultural assumptions in and about Western and Eastern hauntings).

What I think is so effective about Poe's use of the rationalistic narrator in "The Fall of the House of Usher" is not only the way that his narration leads the reader to expect the story to end one way, heightening the surprise and horror of the actual ending, but also the way in which his mistake about Roderick Usher at the end of the story raises the possibility that he might be mistaken in his earlier dismissals of Usher's beliefs. Without deviating from the explained Gothic at all--no ghosts, no spirits, no supernatural phenomena of any kind--Poe's story succeeds on aesthetic (his relation to Irving is kind of like Ringu's relation to Scream) and philosophical levels (he pushes Enlightenment-era ontologies and epistemologies to the point when you wonder if all our senses were as sensitive as Usher's whether we, too, would be overcome with horror and fear--wonder if his idea that an evil sentience pervades his ancestral grounds may well be entirely rational). The narrator's own reactions to the landscape and architecture of the House of Usher and to his repeated conversations with Usher point to the idea that a place can have an effect on your mind without any visible or sensible causes.

Decades later, at the end of Uncle Tom's Cabin, Stowe attempts to politicize Poe's achievements. Critics have rightly focused on her adroit mixing of popular antebellum genres to account for the success of her novel--drawing everything from the novel of sentiment to the slave narrative, Stowe attempts to make her readers feel the evils and injustices of slavery, not just understand them conceptually. I haven't read enough Stowe criticism to see if scholars have been paying attention to her use of the gothic and the ghost story, but it is crucial to her novel's mediation of Enlightenment and Christian attacks on slavery--her linking of appeals to violations of rights to life, liberty, and property to the notions that slavery is a sin and that true Christians can neither hold slaves nor tolerate the existence of slavery. When Cassy and Emmeline conspire to manipulate Simon Legree into believing the garret in his mansion is haunted by the spirit of a slave woman he tortured, raped, and killed, they are participating in one of the classic conventions of the explained Gothic--but instead of the vulnerable protagonist being tormented by a conspiracy out to make her believe she is being haunted, here the vulnerable female slaves are the ones who are protecting themselves by making the garret the safest place for them to hide from the slave catchers trying to hunt them down after they are seen trying to escape the plantation. Stowe takes us behind the scenes to see how Cassy stages all the supposedly supernatural events that heighten Legree's guilt, horror, and fear--this is the explained Gothic with a vengeance--and asserts that it is Legree's atheism that makes him particularly susceptible to her manipulations. In so doing, she echoes Poe's language--and provides some imagery that Dickinson may well be responding to in her Civil War-era poem #670 (the revolver that is no protection against spirits, the locked door that is no protection against your own internal haunting)--in a way that mixes their philosophical and psychological emphases with her own social and political projects. Cassy's staging of an "authentic ghost story," as one late chapter title proclaims it to be, enables her and Emmeline to escape the fate of the tortured and murdered slave woman--and the martyrdom of Uncle Tom by Legree that is framed by the narrative of their escape--even as it shows the consequences on Legree of his own actions. Stowe's hauntings emphasize the horrors of slavery and install the metaphor of the slaveholder haunted by his sins and the nation haunted by the peculiar institution.

Oops, imoto just woke up. More on Chesnutt later!