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The 13 Virtues of Benjamin Franklin

In America, American History, Arts & Letters, Books, Ethics, History, Humanities, Literature, Western Civilization on June 26, 2013 at 8:49 am

Benjamin Franklin

In his autobiography, Benjamin Franklin listed 13 virtues by which he sought to live.  Here they are:

1.  TEMPERANCE. Eat not to dullness; drink not to elevation.

2.  SILENCE. Speak not but what may benefit others or yourself; avoid trifling conversation.

3.  ORDER. Let all your things have their places; let each part of your business have its time.

4.  RESOLUTION. Resolve to perform what you ought; perform without fail what you resolve.

5.  FRUGALITY. Make no expense but to do good to others or yourself; i.e., waste nothing.

6.  INDUSTRY. Lose no time; be always employ’d in something useful; cut off all unnecessary actions.

7.  SINCERITY. Use no hurtful deceit; think innocently and justly, and, if you speak, speak accordingly.

8.  JUSTICE. Wrong none by doing injuries, or omitting the benefits that are your duty.

9.  MODERATION. Avoid extreams; forbear resenting injuries so much as you think they deserve.

10.  CLEANLINESS. Tolerate no uncleanliness in body, cloaths, or habitation.

11.  TRANQUILLITY. Be not disturbed at trifles, or at accidents common or unavoidable.

12.  CHASTITY. Rarely use venery but for health or offspring, never to dulness, weakness, or the injury of your own or another’s peace or reputation.

13.  HUMILITY. Imitate Jesus and Socrates.

Franklin was a great man, even if he fell far short of his own high standards.  Lists like these can, I think, help one to improve oneself.  See my reading list for this year.

Pragmatists Versus Agrarians?

In America, American History, Arts & Letters, Book Reviews, Books, Conservatism, Emerson, History, Humanities, Liberalism, Literary Theory & Criticism, Literature, Nineteenth-Century America, Philosophy, Politics, Pragmatism, Southern History, Southern Literature, Western Civilization, Western Philosophy, Writing on June 19, 2013 at 8:45 am

Allen Mendenhall

This review originally appeared here at The University Bookman.

John J. Langdale’s Superfluous Southerners paints a magnificent portrait of Southern conservatism and the Southern Agrarians, and it will become recognized as an outstanding contribution to the field of Southern Studies. It charts an accurate and compelling narrative regarding Southern, Agrarian conservatism during the twentieth century, but it erroneously conflates Northern liberalism with pragmatism, muddying an otherwise immaculate study.

Langdale sets up a false dichotomy as his foundational premise: progressive, Northern pragmatists versus traditionalist, Southern conservatives. From this premise, he draws several conclusions: that Southern conservatism offers a revealing context for examining the gradual demise of traditional humanism in America; that Northern pragmatism, which ushered in modernity in America, was an impediment to traditional humanism; that “pragmatic liberalism” (his term) was Gnostic insofar as it viewed humanity as perfectible; that the man of letters archetype finds support in Southern conservatism; that Southern conservatives eschewed ideology while Northern liberals used it to present society as constantly ameliorating; that Southern conservatives celebrated “superfluity” in order to preserve canons and traditions; that allegedly superfluous ways of living were, in the minds of Southern conservatives, essential to cultural stability; that Agrarianism arose as a response to the New Humanism; and that superfluous Southerners, so deemed, refined and revised established values for new generations.

In short, his argument is that Southern conservatives believed their errand was to defend and reanimate a disintegrating past. This belief is expressed in discussion of the work of six prominent Southern men of letters spanning two generations: John Crowe Ransom, Donald Davidson, Allen Tate, Cleanth Brooks, Richard Weaver, and M. E. Bradford.

Langdale ably demonstrates how the Southern Agrarians mounted an effective and tireless rhetorical battle against organized counterforces, worried that scientific and industrial progress would replace traditional faith in the unknown and mysterious, and fused poetry and politics to summon forth an ethos of Romanticism and chivalry. He sketches the lines of thought connecting the earliest Agrarians to such later Southerners as Weaver and Bradford. He is so meticulous in his treatment of Southern conservatives that it is surprising the degree to which he neglects the constructive and decent aspects of pragmatism.

Careful to show that “Agrarianism, far from a monolithic movement, had always been as varied as the men who devised it,” he does not exercise the same fastidiousness and impartiality towards the pragmatists, who are branded with derogatory labels throughout the book even though their ideas are never explained in detail. The result is a series of avoidable errors.

First, what Langdale treats as a monolithic antithesis to Southern conservatism is actually a multifaceted philosophy marked by only occasional agreement among its practitioners. C. S. Peirce was the founder of pragmatism, followed by William James, yet Peirce considered James’s pragmatism so distinct from his own that he renamed his philosophy “pragmaticism.” John Dewey reworked James’s pragmatism until his own version retained few similarities with James’s or Peirce’s. Oliver Wendell Holmes Jr. never identified himself as a pragmatist, and his jurisprudence is readily distinguishable from the philosophy of Peirce, James, and Dewey. Each of these men had nuanced interpretations of pragmatism that are difficult to harmonize with each other, let alone view as a bloc against Southern, traditionalist conservatism.

Second, the Southern Agrarians espoused ideas that were generally widespread among Southerners, embedded in Southern culture, and reflective of Southern attitudes. By contrast, pragmatism was an academic enterprise rejected by most Northern intellectuals and completely out of the purview of the average Northern citizen. Pragmatism was nowhere near representative of Northern thinking, especially not in the political or economic realm, and it is hyperbolic to suggest, as Langdale does, that pragmatism influenced the intellectual climate in the North to the extent that traditionalist conservatism influenced the intellectual climate in the South.

Third, the pragmatism of Peirce and James is not about sociopolitical or socioeconomic advancement. It is a methodology, a process of scientific inquiry. It does not address conservatism per se or liberalism per se. It can lead one to either conservative or liberal outcomes, although the earliest pragmatists rarely applied it to politics as such. It is, accordingly, a vehicle to an end, not an end itself. Peirce and James viewed it as a technique to ferret out the truth of an idea by subjecting concrete data to rigorous analysis based on statistical probability, sustained experimentation, and trial and error. Although James occasionally undertook to discuss political subjects, he did not treat pragmatism as the realization of political fantasy. Pragmatism, properly understood, can be used to validate a political idea, but does not comprise one.

The Southern Agrarians may have privileged poetic supernaturalism over scientific inquiry; it does not follow, however, that pragmatists like Peirce and James evinced theories with overt or intended political consequences aimed at Southerners or traditionalists or, for that matter, Northern liberals. Rather than regional conflict or identity, the pragmatists were concerned with fine-tuning what they believed to be loose methods of science and epistemology and metaphysics. They identified with epistemic traditions of Western philosophy but wanted to distill them to their core, knowing full well that humans could not perfect philosophy, only tweak it to become comprehensible and meaningful for a given moment. On the other hand, the Southern Agrarians were also concerned with epistemology and metaphysics, but their concern was invariably colored by regional associations, their rhetoric inflected with political overtones. Both Southern Agrarians and pragmatists attempted to conserve the most profitable and essential elements of Western philosophy; opinions about what those elements were differed from thinker to thinker.

Fourth, Langdale’s caricature (for that is what it is) of pragmatism at times resembles a mode of thought that is alien to pragmatism. For instance, he claims that “pragmatism is a distinctly American incarnation of the historical compulsion to the utopian and of what philosopher Eric Voegelin described as the ancient tradition of ‘gnosticism.’” Nothing, however, is more fundamental to pragmatism than the rejection of utopianism or Gnosticism. That rejection is so widely recognized that even Merriam-Webster lists “pragmatism” as an antonym for “utopian.”

Pragmatism is against teleology and dogma; it takes as its starting point observable realities rather than intangible, impractical abstractions and ideals. What Langdale describes is more like Marxism: a messianic ideology with a sprawling, utopian teleology regarding the supposedly inevitable progress of humankind.

Given that pragmatism is central to his thesis, it is telling that Langdale never takes the time to define it, explain the numerous differences between leading pragmatists, or analyze any landmark pragmatist texts. The effect is disappointing.

Landgale’s approach to “superfluity” makes Superfluous Southerners the inverse of Richard Poirier’s 1992 Poetry and Pragmatism: whereas Langdale relates “superfluity” to Southern men of letters who conserve what the modern era has ticketed as superfluous, Poirier relates “superfluity” to Emerson and his literary posterity in Robert Frost, Gertrude Stein, Wallace Stevens, T. S. Eliot, William Carlos Williams, and Ezra Pound. Both notions of superfluity contemplate the preservation of perennial virtues and literary forms; one, however, condemns pragmatism while the other applauds it.

For both Langdale and Poirier, “superfluity” is good. It is not a term of denunciation as it is usually taken to be. Langdale cites Hungarian sociologist Karl Mannheim to link “superfluity” to traditionalists who transform and adapt ideas to “the new stage of social and mental development,” thus keeping “alive a ‘strand’ of social development which would otherwise have become extinct.”

Poirier also links superfluity to an effort to maintain past ideas. His notion of “superfluity,” though, refers to the rhetorical excesses and exaggerated style that Emerson flaunted to draw attention to precedents that have proven wise and important. By reenergizing old ideas with creative and exhilarating language, Emerson secured their significance for a new era. In this respect, Emerson is, in Poirier’s words, “radically conservative.”

Who is right? Langdale or Poirier? Langdale seeks to reserve superfluity for the province of Southern, traditionalist conservatives. Does this mean that Poirier is wrong? And if Poirier is right, does not Langdale’s binary opposition collapse into itself?

These questions notwithstanding, it is strange that Langdale would accuse the Emersonian pragmatic tradition of opposing that which, according to Poirier, it represents. Although it would be wrong to call Emerson a political conservative, he cannot be said to lack a reverence for history. A better, more conservative criticism of Emerson—which Langdale mentions in his introduction—would involve Emerson’s transcendentalism that promoted a belief in innate human goodness. Such idealism flies in the face of Southern traditionalism, which generally abides by the Augustinian doctrine of innate human depravity and the political postures appertaining thereto.

What Langdale attributes to pragmatism is in fact a bane to most pragmatists. A basic tenet of pragmatism, for instance, is human fallibilism, which is in keeping with the doctrine of innate human depravity and which Peirce numbers as among his reasons for supporting the scientific method. Peirce’s position is that one human mind is imperfect and cannot by itself reach trustworthy conclusions; therefore, all ideas must be filtered through the logic and experimentation of a community of thinkers; a lasting and uniform consensus is necessary to verify the validity of any given hypothesis. This is, of course, anathema to the transcendentalist’s conviction that society corrupts the inherent power and goodness of the individual genius.

Langdale’s restricted view of pragmatism might have to do with unreliable secondary sources. He cites, of all people, Herbert Croly for the proposition that, in Croly’s words, “democracy cannot be disentangled from an aspiration toward human perfectibility.” The connection between Croly and pragmatism seems to be that Croly was a student of James, but so was the politically and methodologically conservative C. I. Lewis. And let us not forget that the inimitable Jacques Barzun, who excoriated James’s disciples for exploiting and misreading pragmatism, wrote an entire book—A Stroll with William James—which he tagged as “the record of an intellectual debt.”

Pragmatism is a chronic target for conservatives who haven’t read much pragmatism. Frank Purcell has written in Taki’s Magazine about “conservatives who break into hives at the mere mention of pragmatism.” Classical pragmatists are denominated as forerunners of progressivism despite having little in common with progressives. The chief reason for this is the legacy of John Dewey and Richard Rorty, both proud progressives and, nominally at least, pragmatists.

Dewey, behind James, is arguably the most recognizable pragmatist, and it is his reputation, as championed by Rorty, that has done the most to generate negative stereotypes and misplaced generalizations about pragmatism. Conservatives are right to disapprove of Dewey’s theories of educational reform and social democracy, yet he is just one pragmatist among many, and there are important differences between his ideas and the ideas of other pragmatists.

In fact, the classical pragmatists have much to offer conservatives, and conservatives—even the Southern Agrarians—have supported ideas that are compatible with pragmatism, if not outright pragmatic. Burkean instrumentalism, committed to gradualism and wary of ideological extremes, is itself a precursor to social forms of pragmatism, although it bears repeating that social theories do not necessarily entail political action.

Russell Kirk’s The Conservative Mind traces philosophical continuities and thus provides clarifying substance to the pragmatist notion that ideas evolve over time and in response to changing technologies and social circumstances, while always retaining what is focal or fundamental to their composition. The original subtitle of that book was “From Burke to Santayana,” and it is remarkable, is it not, that both Burke and Santayana are pragmatists in their own way? Santayana was plugged into the pragmatist network, having worked alongside James and Josiah Royce, and he authored one of the liveliest expressions of pragmatism ever written: The Life of Reason. Although Santayana snubbed the label, general consensus maintains that he was a pragmatist. It is also striking that Kirk places John Randolph of Roanoke and John C. Calhoun, both Southern conservatives, between these pragmatists on his map of conservative thought. There is, in that respect, an implication that pragmatism complements traditionalism.

Langdale relies on Menand’s outline of pragmatism and appears to mimic Menand’s approach to intellectual history. It is as though Langdale had hoped to write the conservative, Southern companion to The Metaphysical Club. He does not succeed because his representation of pragmatism is indelibly stamped by the ideas of Rorty, who repackaged pragmatism in postmodern lexica. Moreover, Langdale’s failure or refusal to describe standing differences between the classical pragmatists and neo-pragmatists means that his book is subject to the same critique that Susan Haack brought against Menand.

Haack lambasted Menand for sullying the reputation of the classical pragmatists by associating pragmatism with nascent Rortyianism—“vulgar Rortyianism,” in her words. Langdale seems guilty of this same supposition. By pitting pragmatism against Southern conservatism, he implies that Southern conservatism rejects, among other features, the application of mathematics to the scientific method, the analysis of probabilities derived from data sampling and experimentation, and the prediction of outcomes in light of statistical inferences. The problem is that the Agrarians did not oppose these things, although their focus on preserving the literary and cultural traditions of the South led them to express their views through poetry and story rather than as philosophy. But there is nothing in these methods of pragmatism (as opposed to the uses some later pragmatists may have put to them) that is antithetical to Southern Agrarianism.

Superfluous Southerners is at its best when it sticks to its Southern subjects and does not undertake comparative analyses of intellectual schools. It is at its worst when it resorts to incorrect and provocative phrases about “the gnostic hubris of pragmatists” or “the gnostic spirit of American pragmatic liberalism.” Most of its chapters do a remarkable job teasing out distinctions between its Southern conservative subjects and narrating history about the Southern Agrarians’ relationship to modernity, commitment to language and literature, and role as custodians of a fading heritage. Unfortunately, his book confounds the already ramified philosophy known as pragmatism, and at the expense of the Southern traditionalism that he and I admire.

The Best Novels and Plays About Business: Results of a Survey

In Arts & Letters, Humanities, Literature, News and Current Events on June 12, 2013 at 8:45 am

Edward W. Younkins

Edward W. Younkins is the founder of the undergraduate major in Political and Economic Philosophy at Wheeling Jesuit University in West Virginia. He is also the founding director of the university’s Master of Business Administration (M.B.A.) and Master of Science in Accountancy (M.S.A.) programs. In addition to earning state and national honors on the Certified Public Accountant (CPA) and Certified Management Accountant (CMA) exams, respectively, Dr. Younkins also received the Outstanding Educator Award for 1997 from the West Virginia Society of Certified Public Accountants. Professor Younkins has written a number of articles in free-market-oriented journals and is the author of Capitalism and Commerce: Conceptual Foundations of Free Enterprise (2002) and Flourishing and Happiness in a Free Society (2011).

My Koch Research Fellows, Jomana Krupinski and Kaitlyn Pytlak, and I conducted a survey of 250 Business and Economics professors and 250 English and Literature professors. Colleges and universities were randomly selected and then professors from the relevant departments were also randomly selected to receive our email survey. They were asked to list and rank from 1 to 10 what they considered to be the best novels and plays about business. We did not attempt to define the word “best” leaving that decision to each respondent. We obtained sixty-nine usable responses from Business and Economics professors and fifty-one from English and Literature professors. A list of fifty choices was given to each respondent and an opportunity was presented to vote for works not on the list. When tabulating the results, ten points were given to a novel or play in a respondent’s first position, nine points were assigned to a work in the second position, and so on, down to the tenth listed work which was allotted one point. The table below presents the top twenty-five novels and plays for each group of professors. Interestingly, fifteen works made both top-25 lists. These are noted in bold type.

Business and   Economics Professors

 

English and   Literature Professors

1.   Atlas Shrugged, Ayn Rand

457

1.   Death of a Salesman, Arthur Miller

282

2.   The Fountainhead, Ayn Rand

297

2.   Bartleby: The Scrivener, Herman   Melville

259

3.   The Great Gatsby, F. Scott   Fitzgerald

216

3.   The Great Gatsby, F. Scott   Fitzgerald

231

4.   Death of a Salesman, Arthur Miller

164

4.   The Jungle, Upton Sinclair

143

5.   Time   Will Run Back, Henry Hazlitt

145

5.   Babbitt, Sinclair Lewis

126

6.   The Jungle, Upton Sinclair

136

6.   Glengarry Glen Ross, David Mamet

121

7.   The Gilded Age, Mark Twain and   Charles Dudley Warner

95

7.   The   Rise of Silas Lapham, William Dean Howells

98

8.   Glengarry Glen Ross, David Mamet

89

8.   American Pastoral, Philip Roth

85

9.   God Bless You, Mr. Rosewater, Kurt   Vonnegut, Jr.

57

9.   The   Confidence Man, Herman Melville

75

10. Other   People’s Money, Jerry Sterner

57

10. The Fountainhead, Ayn Rand

75

11. Bartleby: The Scrivener, Herman   Melville

55

11. A   Hazard of New Fortunes, William Dean Howells

66

12. A Man   in Full, Tom Wolfe

48

12. The Octopus, Frank Norris

65

13. Babbitt, Sinclair Lewis

47

13. Atlas Shrugged, Ayn Rand

62

14. The Man   in the Gray Flannel Suit, Sloan Wilson

43

14. Nice   Work, David Lodge

62

15. Rabbit is Rich, John Updike

41

15. The Big   Money, John Dos Passos

59

16. Major   Barbara, George Bernard Shaw

39

16. The Gilded Age, Mark Twain and   Charles Dudley Marner

58

17. Dombey and Son, Charles Dickens

33

17. Rabbit is Rich, John Updike

55

18. The Goal,   Eliyahu M. Goldratt

33

18. Seize   the Day, Saul Bellow

55

19. The   Driver, Garet Garrett

32

19. Mildred   Pierce, James M. Gain

54

20. Executive   Suite, Cameron Hawley

32

20. The   Financier, Theodore Dreiser

53

21. The Way   We Live Now, Anthony Trollope

32

21. Dombey and Son, Charles Dickens

51

22. American Pastoral, Philip Roth

29

22. Sometimes a Great Notion, Ken   Kesey

45

23. The Octopus, Frank Norris

29

23. The   Last Tycoon, F. Scott Fitzgerald

44

24. Sometimes a Great Notion, Ken   Kesey

28

24. The Moviegoer,   Walker Percy

43

25. North   and South, Elizabeth Gaskell

27

25. God Bless You, Mr. Rosewater, Kurt   Vonnegut, Jr.

39

 

Bartram’s Travels and the Erotica of Nature

In America, American History, Arts & Letters, History, Humanities, Literary Theory & Criticism, Literature, Philosophy, Southern History, The South, Writing on May 29, 2013 at 8:45 am

Allen Mendenhall

This post first appeared here at the Literary Table in 2010.

I’ll limit my discussion of Bartram’s cognitive originality to some finer points made by Michael Gaudio, whose article, “Swallowing the Evidence,” is a mostly on-the-mark interrogation of Bartram’s persistent use of metaphor.

Gaudio writes that Bartram’s Travels, with its imagery of swallowing, mouths, and voids, calls into question Enlightenment aesthetics while signaling glaring absences in the putatively public sphere. Although Gaudio argues convincingly that Bartram’s imagery signifies an “Enlightenment view of the cosmos in which the natural and the social operate according to the same rational principles,” he privileges a political over an erotic reading, thereby reducing the text to a series of subversive patterns of visual perception. In fact, Bartram’s text is less about movement politics than it is about scientific or social politics.

Travels describes a journey lasting from 1773 to 1777, arguably the most intense moment in American political history, yet Bartram makes no mention of the Revolution, the Continental Congress, the Declaration of Independence, or any other political signifier. As the war between Britain and America raged, Bartram rummaged through woods recording data and collecting specimens. He might have been interested in undermining Enlightenment ideals, as Gaudio suggests, but he probably was not keen on likening sink holes to doubts about the democratic project. A better reading would treat Bartram’s concave, hollow, and gaping imagery as vaginal and his nature aesthetics as sexual. Such a reading not only sheds light on Bartram’s aesthetic facility but also gives rise to a better reading of Bartram’s politics as understood through depictions of Natives, black men, or property-owning colonials. Gaudio is right to argue that, for Bartram, “the work of the naturalist is the recording of not only the visibility of nature’s surfaces but also the struggle that leads to that visibility,” but he is wrong to ignore the language of penetration and other pseudo-sexual insinuations. Attending to this sexual language might have allowed Gaudio to enlist Bartram in the “anti-Enlightenment” project in other, more interesting ways—for instance, by contrasting Bartram’s observations of Indian tribes with the unwarranted assumptions of Enlightenment thinkers who dismissed Natives as mere barbarians or worse.

Gaudio submits that because Bartram’s aim was to “exhibit the self-evidence of nature” and to “set the full presence of its surfaces before the viewer,” Bartram’s appeals were necessarily visual. That much, I think, we can grant. But Gaudio goes too far when he contrasts Bartram with Bacon by claiming that the latter employed “rhetoric of penetration” to peer beneath nature’s surfaces whereas Bartram looked precisely to nature’s surfaces because he preferred architectural forms to dissected taxonomies. Gaudio suggests, in other words, that Bartram seeks out rational forms, which share a visual logic, to show nature’s uniform and universal manifestations. Nevertheless, Bartram’s rhetoric (like Bacon’s) is rich in references to penetration. Gaudio’s formative analogy therefore does not stand up to close examination.

“Having some repairs to make in the tackle of my vessel, I paid my first attention to them,” Bartram says of a particularly cheerful morning, adding, “my curiosity prompted me to penetrate the grove and view the illuminated plains.” Similarly, Bartram speaks of “penetrating the groves,” “penetrating the Canes,” “penetrating the forests,” penetrating the “first line” of alligators, “penetrating a thick grove of oaks,” and penetrating “the projecting promontories.” All of this penetration flies in the face of Gaudio’s argument that Bartram’s “voids” signal the limits of Enlightenment thought. Rather than avoiding vocabulary of penetration, Bartram embraces it. Bartram may be interested in surfaces, but he is also interested in—one might say seduced by—what lies beneath. He even employs sexual innuendo and other erotic lexica to portray what lies beneath.

The sexual language in Travels serves to eroticize nature, which seduces with its enchanting if virginal charms. In a brilliant essay, Thomas Hallock speaks of botanic men (including William Bartram’s father, John) who turned “genteel ladies into fascinated subjects.” For these men, plants “served as a shorthand for intimate relationships that were transacted across vast space.” According to this logic, it follows that any “individual who interacts with the natural world takes on an ‘ecopersona,’ an identity or costume of manners that locates consumption of the natural within a given cultural code.” By ignoring the eros pouring forth from Bartram’s nature writings, Gaudio overlooks a very telling association between Native women, whom Bartram eroticizes, and nature, itself a sensual “organism.” More to the point, he misses Bartram’s odd constructions of eco-personae for Native women. Indeed, Bartram forges an association between nature and Native women in his “sylvan scene of primitive innocence,” which was “enchanting” and “perhaps too enticing for hearty young men long to continue idle spectators.”

In what Bartram calls a “joyous scene of action,” nature (read: passion) prevails over reason and European men are drawn helplessly—as if by Sirens—to the Native “nymphs” guarded by “vigilant” and “envious” matrons. The Native women are sensual and seductive because they seem in tune with Nature and the “Elysian fields.” In light of this analogy, Bartram speaks of Natives as “amorous topers,” “amorous and bacchanalian” dancers, amorous singers, and amorous and intriguing wives, just as he speaks of the “sweet enchanting melody of the feathered songsters” in their “varied wanton amorous chaces,” or of the “soothing love lays of the amorous cuckoo.” That is to say, Bartram effectively ties Native women to the carnal cravings of animal lust. For this reason, the desire to penetrate takes on a much stronger meaning than the one Gaudio describes vis-à-vis Bacon—it becomes not just about examinations of exterior surfaces but about the physical need and urge to thrust right through surfaces.

The land on and adjacent to a particular river “appears naturally fertile,” Bartram declares, “notwithstanding its arenaceous surface.” Surfaces can be deceiving, so Bartram digs deeper, so to speak, and identifies their sexual and reproductive possibilities. Similarly, he likens “many acres of surface” to a “delusive green wavy plain of the Nymphae Nelumbo,” a plant that represents sexual purity or virginity. In these and other instances, Bartram renders nature as a playground of erotic spaces for male pleasure. Simply put, Bartram’s nature is fertile and stimulates sexual arousal.

If, for Bartram, Native women were in harmony with nature and so were fertile and seductive—if they were hypersexualized—then Gaudio could have done far more with the vaginal motifs in Travels. Like countless others, he could have called into question the tropes, male gazing, and sexual power plays at work in the book and thereby achieved a “political” reading actually supported by the text. Gaudio is at his best when bringing to light metaphors that would seem easy to overlook, but his analysis fails for disregarding the obvious sexual and vaginal connotations evoked by these metaphors. At worst, his analysis fails for pivoting on a major assumption—that Bartram limited his analysis to surfaces and exteriors without regard to “the insides.” If anything, Bartram seems even more interested in “the insides” given his sexual renderings of a nature that invites penetration and carnal exploration.

See the following articles for more reading:

Abrams, Ann Uhry. The Pilgrims and Pocahontas: Rival Myths of American Origin. Boulder: Westview, 1999.

Fischer, Kirsten. “The Imperial Gaze: Native American, African American, and Colonial Women in European Eyes,” in A Companion to American Women’s History. Blackwell Publishing, 2002.

Fleming, E. McClung. “The American Image as Indian Princess.” Winterthur Portfolio. Vol. 2 (1965: 65-81).

Gaudio, Michael. “Swallowing the Evidence: William Bartram and the Limits of Enlightenment.” Winterthur Portfolio. Vol. 36, No. 1 (2001: 1-17).

Hallock, Thomas. “Male Pleasure and the Genders of Eighteenth-Century Botanic Exchange: A Garden Tour.” The William and Mary Quarterly 62.4 (2005): 32 pars. 13 Oct. 2009 .

The Travels of William Bartram. Ed. Mark Van Doren. New York: Dover Publications, 1928.

Schoelwer, Susan Prendergast. “The Absent Other,” in Discovered Lands, Inventing Pasts. Yale University Press, 1992.

Thoreau, Environmentalism, Economy

In America, American History, Arts & Letters, Books, History, Humanities, Literary Theory & Criticism, Literature, Nineteenth-Century America, Philosophy, Writing on May 22, 2013 at 8:45 am

Allen Mendenhall

This post first appeared here at The Literary Table in 2010.

Turning to the works of Henry David Thoreau might provide a “third way” and go some length toward resolving debates about the Environmentalists’ Dilemma.  I borrow the words “Environmentalists’ Dilemma” from Bryan G. Norton, who uses the phrase to refer to the competing discourses of two environmentalist camps: the economists and the moralists.  These camps would, Norton submits, provide very different answers to the question, “What is the value of biodiversity?”  Economists would emphasize “the actual and potential uses of living species” whereas the moralists “do not believe our obligations to protect nature can be traded off against other obligations” (Norton 29-30).  Economists would state the value of biodiversity in quantifiable, utilitarian, and anthropocentric terms whereas the moralists “insist that we have an obligation to protect all species, an obligation that transcends economic reasoning and trumps our mere interests in using nature for our own welfare” (Norton 30).  The dilemma for the environmentalist is which of the two realms, economic or moral, to heed.  Norton’s argument is that the two realms are not in fact mutually exclusive and that Henry David Thoreau supplies proof of their mutual reinforcement.  That Thoreau titles the opening chapter of Walden with one simple if unsuspecting word, “Economy,” is no coincidence.  The Environmentalists’ Dilemma, for Thoreau, is no dilemma at all: “most commentators have assumed that we should give one answer or the other,” but an absolute, totalizing separation is neither necessary nor accurate (Norton 31, my italics).  I agree with Norton and would like to extend his reasoning in this brief post, which draws its analysis from Thoreau’s Walden.

If economists first measure value “as contributions to human welfare” and then promise “an aggregation of values”—i.e., if they promise a calculation of “the contribution of nature to human welfare” as “commensurable and interchangeable with other human benefits”—then Thoreau was something of an economist (Norton 30).  As implied by the title of his opening chapter, Thoreau uses nature as an occasion to opine about human affairs, often in purely economic terms; he transforms the humble, small, and common scenes of nature into grand meditations about labor and profit.  “When my hoe tinkled against the stones,” he says of a day in the bean field, “that music echoed to the woods and the sky, and was an accompaniment to my labor which yielded an instant and immeasurable crop” (247).  Here, Thoreau’s profit—his “yield”—is not quantifiable in monetary terms but in vague moral insight:  “It was no longer beans that I hoed, nor I that hoed beans; and I remembered with as much pity as pride, if I remembered at all, my acquaintances who had gone to the city to attend the oratorios” (247).  Thoreau appreciates the value of labor (minimal physical input for cost-effective output—free food) while recognizing that such value goes far beyond the fiscal benefit of planting crops rather than purchasing food at a store: the labor becomes valuable for what it teaches about solitude, individualism, and freedom from materialism, and not just for its potential for monetary savings.  In this respect, Thoreau marries economics and morality.  Or, as Norton, looking elsewhere in Walden, puts it, “Thoreau describes the benefits of the transformation to higher values in terms of human maturation and fulfillment of potential, as improvements within human consciousness, not in terms of obligations to nature and extrinsic to human consciousness” (32).  In other words, in his celebration of nature, Thoreau takes pains to privilege human economy over natural aesthetic, although the former is dependent upon the latter for its “proceeds.”  Nature is a vehicle for arriving at virtue, thrift included.  It is good—and a good—but humanity is essentially of higher importance.

The merger, as it were, of economics and morality finds its most obvious expression in Thoreau’s various price listings: the costs of building a house; the profits turned from harvesting corn, potatoes, turnips, and beans; the expenses of food and clothing; and the overhead in maintaining a self-sufficient lifestyle.  Of these, John Updike writes,

The long opening chapter, “Economy,” joyously details just how to build a house […] down to a list of expenses totaling $28.11 1/2.  Briskly marketing to the world his program of austerity and self-reliance, he itemizes the few foodstuffs he paid for and the profits he obtained from his seven miles of bean rows.  (xiv, my italics)

Updike’s choice of the word “marketing” is important, revealing as it does that Thoreau’s economics did not stop at savings and cutbacks, but actively advertised a lifestyle at once economic and environmentalist.  Thoreau sold his routine and persona to a curious public, a few of whom bought—and bought into—the ultimately published and publicized form (the book).

On the one hand, Thoreau’s frugality is a lesson about simplicity and prudence; on the other hand, it offers a more environmentally friendly approach to architecture and construction while simultaneously warning about the destructive effects of what today we might call “the tragedy of commons.”  I have neither the time nor space to fully hash out my ideas about the tragedy of commons.  I will, however, quickly supply Steven C. Hackett’s definition for the term and then offer a short justification for my reference to it.  According to Hackett,

The tragedy of the commons is most likely to occur under the conditions of open-access or other poorly designed and enforced property rights regimes.  The tragedy of the commons outcome results from strategic behavior—behavior that an individual takes based on how other people are expected to behave and respond.  At the heart of the tragedy of commons is the belief that if one were to conserve the CPR, others will take what was conserved, and the CPR will degrade (116).

Thoreau’s worries about the tragedy of commons are evident in a few abrupt asides.  Take, for instance, these lines regarding hunting:

Almost every New England boy among my contemporaries shouldered a fowling piece between the ages of ten and fourteen; and his hunting and fishing grounds were not limited, like the preserves of an English nobleman, but were more boundless even that those of a savage.  No wonder, then, that he did not oftener stay to play on the common.  But already change is taking place, owing, not to an increased humanity, but to an increased scarcity of game, for perhaps the hunter is the greatest friend of the animals hunted, not excepting the Humane Society (329).

It seems abundantly clear that Thoreau refers here to the phenomenon—now known as the tragedy of commons—whereby people acting in their own self-interest use up a limited shared resource, in this case animal prey, despite their knowledge that doing so will be bad for everyone.  [Consider this point in light of another sentence by Thoreau: “By avarice and selfishness, and a groveling habit, from which none of us is free, of regarding the soil as property, or the means of acquiring property chiefly, the landscape is deformed, husbandry is degraded with us, and the farmer leads the meanest of lives” (257-58).]  Perhaps the tragedy of commons motivates Thoreau’s declaration that “if all men were to live as simply as I then did, thieving and robbery would be unknown” (269-70).  After all, thieving and robbery “take place only in communities where some have got more than is sufficient while others have not enough” (270).

Economics and morality also apply—albeit more tenuously—to what Michael Berger calls Thoreau’s “study of ecological dynamics in forests,” a “vigorous program of research” about seed dispersal and its spontaneous generation (381-82).  Although Berger does not explicitly say so, he implies that Thoreau’s scientific forays lend authority to his literary works.  This authority allows Thoreau to promote himself and his philosophical vision.  Berger analyzes Thoreau’s The Dispersion of Seeds, which was not published until 1993.  Nevertheless, Berger’s observations apply almost as aptly to various passages in Walden.  Setting out to show that Thoreau’s somewhat Darwinian ideas were not only sophisticated but also pioneering, Berger posits, “Thoreau’s seed dispersal ecology was […] rich in significance regarding the various kinds of complicated mechanisms, principles, and patterns by which species of plants succeed one another in local ecosystems” (382).  To substantiate this point, Berger quotes the following from The Dispersion of Seeds:

In this haphazard manner Nature surely creates you a forest at last, though as if it were the last thing she were thinking of.  By seemingly feeble and stealthy steps—by a geologic pace—she gets over the greatest distances and accomplishes her greatest results.  It is a vulgar prejudice that such forests are ‘spontaneously generated,’ but science knows that there has not been a sudden new creation in their case but a steady progress according to existing laws, that they came from seeds—that is, are the result of causes still in operation, though we may not be aware that they are operating. (383)

This passage recalls Thoreau’s claim in Walden that “where a forest was cut down last winter another is springing up by its shore as lustily as ever” (302).  Thoreau’s point, at any rate, is, in both cases, that forests (in all their various manifestations—trees, plants, etc.) will spring up as if on their own: independent of the botany or vegetation that preceded them.  In the “big picture,” the economics and morality at issue have to do with Thoreau’s ability to market himself and his ideas.  If he could pit himself as both scientist and writer, his writings would gain both cultural and actual currency as well as popular credibility.  This coupling of scientific sophistication with moral sensitivity produces, in Updike’s words, Thoreau’s thinginess: “the thinginess of Thoreau’s prose […] still excites us, the athleticism with which he springs from detail to detail, image to image, while still toting something of Transcendentalism’s metaphysical burden” (xxii).  Without science, Thoreau is little more than a gushing nature enthusiast; without science or the metaphysical burden, he “comes close to being merely an attentive and eloquent travel writer” (Updike xxii).  Fortunately, Thoreau recognizes the need to economize while moralizing, and to do the former well required a certain scientific literacy.  Norton is more generous than I because he casts Thoreau’s scientific observations about the forest as having nothing to do with self-promotion and everything to do with the Environmentalists’ Dilemma.  Thoreau’s self-promotion notwithstanding, Norton’s praise does tend to demonstrate the manner in which Thoreau yoked science to economics and morality:

Thoreau quite explicitly recognized that the forest, a dynamic system, had a ‘language of its own, and that the transition form the immature state was both literary and scientific. […]  He saw that one learns more important things by relating an organism to its environment than by dissecting an organism into parts.  This indicates that Thoreau was on the right track, seeking the secret of life and its organization in the larger systems in which species live.  Especially, he thought we learn more important things about human behavior, and the evaluation of it, by observing organisms in environments.  He believed that if he could unlock the code of nature’s language, it would provide the key to a new, dynamic and scientific understanding of nature.  The key prerequisite for this change to a more contemplative consciousness was development of a new ‘language’ of human values based on analogies from the ‘language’ of nature. (40)

If Norton is right, as I believe he is, then the Environmentalists’ Dilemma is not so paralyzing as some would suggest.  Indeed, Thoreau’s Walden shows how economy and morality can participate with each other in unique and even scientific ways.

For further reading, see the following:

Berger, Michael.  “Henry David Thoreau’s Science in the Dispersion of Seeds.”  Annals of Science.  Vol. 53 (1996:  381-397).

Hackett, Steven C.  Environmental and Natural Resources Economics:  Theory, Policy, and the Sustainable Society.  M.E. Sharpe, 2001.

Norton, Bryan G.  Searching for Sustainability:  Interdisciplinary Essays in Philosophy and Biology.  Cambridge University Press, 2003.

Thoreau, Henry David.  Walden.  Houghton Mifflin Company, 1893.

Updike, John.  “Introduction.”  Walden.  Princeton University Press, 2004.

Edgar Allan Poe and Mesmeric Possibility

In American History, Arts & Letters, Fiction, History, Humanities, Literary Theory & Criticism, Literature, Nineteenth-Century America, Writing on May 15, 2013 at 8:45 am

Allen Mendenhall

This piece first appeared here at The Literary Table in 2010.

Sidney E. Lind, writing in the 1940s, said of the “mesmeric lexica” of nineteenth-century America:  “It is safe to say that the terminology of mesmerism was bandied about in much the same manner as the language of psychoanalysis was to be eighty years later, and with, in all probability, as little real comprehension on the part of the public.”

Lind’s reference to psychoanalysis—signified, at that moment, by Austrian physicist Sigmund Freud—is particularly telling for 21st century audiences, who have witnessed an avalanche of criticism of psychoanalysis, a pseudoscience, according to the naysayers, the results of which are un-testable at best and bogus at worst.  Lind’s aim is not to destabilize the practices of psychoanalysis but to interrogate three short works by Edgar Allan Poe in which mesmerism features prominently:  “A Tale of the Ragged Mountains,” “Mesmeric Revelation,” and “The Facts in the Case of M. Valdemar.”  “These three stories,” Lind submits, “constitute a series within which the mesmeric experiment becomes more profound, irrespective of plausibility or implausibility, or of whether or not Poe in at least two of the three was hoaxing his readers.”

Lind’s point is well-taken.  In Poe’s day, the subject of mesmerism was “in the air” and therefore “it was logical that Poe, as a journalist sensitive to popular interest, should have exploited it.”  True, these three stories exhibit, often wryly, a profound familiarity with mesmeric techniques and influences.  But more is going on in them than Lind lets on.  Indeed, Lind goes to great lengths to contextualize these stories within scientific (or other) discourses on mesmerism in Poe’s era, but he overemphasizes their “unity,” “theme,” and “intention” (always mimetic) instead of their singular dialogic contribution.  That is to say, Lind treats the stories as “echoes” or “reiterations” of other thinkers rather than as unique theses in their own right.  For Lind, the stories are indebted to other sources because they derive their vocabularies and methods from these sources.  I would suggest that Poe’s stories are in conversation with various dissertations on mesmerism rather than mere signs of cherry-picking or copying.  Although Poe’s modus operandi or preferred genre is fiction, his supposedly plagiarized passages lend substance to the notion that he might actually have been dissertating on mesmerism, animal magnetism, or hypnosis.  The luxury of storytelling is that the storyteller can dismiss unverifiable data as hoaxes or products of imagination; nevertheless, the storyteller can at least hope to hit on something real, novel, or scientific.  Two examples, Jules Verne and H.G. Wells, writing well after Poe, conceived of technological advances—most notably space travel—long before such advances were practical.

Lind’s work, at any rate, is impressively researched, laying the foundation for future analyses of Poe and his infatuations with mesmerism.  But why does Lind downplay Poe’s role in developing pioneering work?  All arguments are indebted to previous arguments; indebtedness does not take away from the originality or force of their articulation or genre.

Unlike Lind, Matthew A. Taylor calls attention to the distinctiveness of Poe’s contributions to “mesmeric theory” (for want of a better phrase) and its progeny.  He locates Poe in contradistinction to Herbert Mayo:  “Unlike Mayo, […] Poe radically deviated from the utopian utilitarian, or benign notions of mesmerism at play in most contemporary discourses on the topic, picturing instead the unsettling implications for human ontology consequent upon the idea that persons are less sovereign entities than manipulatable effects of external powers.”  In short, Poe considered mesmerism a bad thing, or at least a dangerous thing that did not lead down a road to human improvement.  “Poe concluded,” Taylor opines, “that an all-encompassing cosmic energy inevitably troubles human-being by suspending the autonomy and interiority of individual humans; the disorientation of normal, corporeal functioning and the literal loss of self-possession attending mesmeric practice illustrated for Poe the fact that people are little more than occasions for the demonstration of an impersonal power.”  If Taylor is right, then Poe’s take on mesmerism is not only unique but also quite sophisticated; it demonstrates a full understanding of mesmeric theory while simultaneously rejecting that theory.  More to the point, if Taylor is right, then Poe’s take on mesmerism stands on its own and demands critical attention.  Unlike Lind, Taylor seems to acknowledge Poe’s special role in shaping mesmeric theory—or, more precisely, mesmeric counter-theory.  In fact, Taylor seems to think Poe’s ideas about mesmerism reflect an entire cosmology about human nature and the imperfectability of humankind.  This is a tall claim.  For present purposes, it shows that Poe might have been worried about more than entertaining readers with fanciful mind-candy.  He might have been positing a worldview that flew in the face of prevailing physics (that “perverse yet consistent calculus that unites everything in existence under a single, universal law that, by definition, eliminates all difference—including, of course, the human difference”).  Poe, the relativistic Renaissance man, might have been demonstrating his facility as both scientist and philosopher.  To further establish Poe’s uniqueness, I might add to Taylor’s observations the theological dimension of “Mesmeric Revelation,” which accounts for evangelical objections to mesmerism without plainly endorsing or rejecting them.

Besides the three stories that Lind interrogates, there are, Martin Willis claims, “many other tales that exemplify [Poe’s] abiding interest in the contestation between the science and the human, as well as his fascination with the borderlands of scientific achievement, both in terms of their advancement to new states of knowledge and their place within the scientific pantheon.”  Poe’s interest in scientific trends was not a passing one.  Willis points out that Poe spent years studying science in general before turning to mesmerism in particular.  Whether Poe “believed” in mesmerism is unclear.  It seems plausible that his stories about mesmerism were meant, in Willis’s words,  to “consider mesmeric debates in the realm of fiction rather than that of science.”  I would argue that Poe collapses any distinction between science and fiction by teasing out various theses—which, for all he knew, might one day be proven—through the medium of imaginary characters.  In doing so, Poe forges a distance between theories and their authors: if the theories turn out to be “true,” future generations will consider Poe a genius; if they turn out to be bogus, future generations will claim Poe was merely hoaxing.  Thus the dual-advantage of employing fiction to hash out scientific hypotheses.  Regardless of whether Poe is ultimately “right” about any of his dissertations, which he dresses up as fiction, he demonstrates an impressive breadth of knowledge that should not be ignored.

Not all scholars have ignored it.  Antoine Faivre takes pains to explain how Poe appropriated scientific knowledge and then inserted it into fictional narratives.  He suggests that many readers have mistaken or misread Poe’s tales as “factual, non-fictional case studies,” which in turn has led to a “flurry of reactions and debates.”  My point is not to argue that Poe treats his stories as factual case-studies but to suggest that he left open the case-study possibility.  In other words, Poe might have wanted readers to misread his tales as factual, or else to have some later scientist come along and verify the “truth” of his hypotheses, notwithstanding whether they were in fact his, or whether they were intended as reasoned argument at all.

Lind allows that Poe might not have been hoaxing readers in writing about mesmerism.  “Mesmerism as a theme for fiction,” he explains, “was, like metempsychosis and the exploration of the realm of the conscience, so well suited to Poe’s principles of literary composition that it was natural for him to work this new field, to attempt to achieve the sensational without deliberately attempting to mislead.”  More than simply avoiding misleading commentary, Poe might have been dissertating with the hopes that, one day, scientists would look on his fiction as a catalyst for new and innovative practices.  While not aspiring to complete verisimilitude, Poe’s stories about mesmerism are highly sophisticated tracts, informed by trendy scientific theories (and their counter-discourses), and very probably marked with the faint expectation that their subjects, though fictional, might somehow contribute to future systems of knowledge.

See the following for further reading:

Faivre, Antoine.  “Borrowings and Misreading:  Edgar Allan Poe’s ‘Mesmeric’ Tales and the Strange Case of their Reception.”  Aries, Vol. 7, No. 1 (2007: 21-62).

Lind, Sidney E.  “Poe and Mesmerism.”  PMLA, Vol. 62, No. 4 (1947:  1077-1094).

Torrey, E. Fuller.  Freudian Fraud:  The Malignant Effect of Freud’s Theory on American Thought and Culture. Lucas Publishers, 1999.

Taylor, Matthew A.  “Edgar Allan Poe’s (Meta)physics:  A Pre-History of the Post Human.”  Nineteenth-Century Literature, Vol. 62, No. 2 (2007: 193-221).

Willis, Martin.  Mesmerists, Monsters, and Machines:  Science Fiction and the Cultures of Science in the Nineteenth Century. Kent State University Press, 2006.

Sara Blair’s “Local Modernity, Global Modernism”

In Arts & Letters, Britain, British Literature, Fiction, History, Humanities, Literary Theory & Criticism, Literature, Novels, Writing on April 24, 2013 at 8:45 am

Allen Mendenhall

Sara Blair’s “Local Modernity, Global Modernism” describes the colorful landscape of the Bloomsbury district and proposes, among other things, that Bloomsbury the geographical space preceded Bloomsbury the movement; the site of Bloomsbury, reputedly “performative” or “kaleidoscopic,” provided the heterogeneous and cosmopolitan culture and influence necessary for the movement to flourish.

Blair admits that “[t]o insist that the sociality producing such definitive performances is itself located […] is not to resolve the question of the relations between literary modes and their geocultural contexts.” And yet she offers that such insistence “does help us think more imaginatively about how to frame such relations.” One might ask, then, what “imaginative” links could be made between the “modernist” attributes of Bloomsbury the place and, say, Virginia Woolf’s personal literary style.

“With rare exceptions, Woolf writes little about the texture of Bloomsbury […] spaces, institutions, and local histories,” submits Blair, adding that Woolf does in fact “richly register and exploit a larger fact of Bloomsbury already suggested in Black’s and Baedeker’s maps: its function not merely as a marginal space or a site of uneven alterities but simultaneously also as a lived form of […] the non-lieu, or non-place.” If the non-place is represented in Woolf’s work, and if the non-place is “a space of transition, anticipation, and fluid movement,” then we might view her novel Jacob’s Room as a series of transitional, liminal, or unfixed settings—as a sketchy composite of Jacob that is something like an impressionistic painting. This reading would be consistent with Blair’s idea that Bloomsbury functions “to organize psychic and social relations to other more immediately functional spaces.” If one were to read Jacob’s Room as a sequence of kaleidoscopic settings or spaces, organized chronologically but never quite fixed in place and time, then one might see something of the dislocating characteristics of Bloomsbury the place throughout the novel. It is in this context that one can claim Woolf’s style as itself a signifier of “Bloomsbury.” As Blair puts it, “Woolf’s own evocative narratology […] can be read as a response to both the ambient facts of Bloomsbury’s heterogeneity and its status as a non-place alike.”

Can we link the dreamlike fluidity of Jacob’s Room with the distinct fluidity of Bloomsbury culture as described by Blair. Should we even try? Blair seems to believe that we not only can, but should: “While a more systematic reading of the relations between Bloomsbury as a site of social experience and cultural generation and the work of ‘Bloomsbury,’ particularly Woolf’s, is called for, it remains beyond my scope here.” A good challenge for students is to consider how they can expand Blair’s scope and to debate whether they would be “overreading” Jacob’s Room (or any novel by Woolf and the Bloomsbury crowd) by trying to locate it in the larger modernist context of “Bloomsbury” (both the space and the movement).

See Sara Blair, “Local Modernity, Global Modernism.” ELH, Vol. 71, No. 3 (Fall 2004), pp. 813-838.

Allen Mendenhall Interviews Lauren Clark

In Arts & Letters, Fiction, Literature, Southern Literary Review, Writing on April 10, 2013 at 8:45 am

Lauren Clark

This interview originally appeared here at Southern Literary Review.

AM: Lauren, thank you for doing this interview. I’m glad to have the opportunity to ask you about Dancing Naked in Dixie. Before I get to the book, though, I’d like to ask you about your transition from television to writing. How did that transition take place?

LC: I loved working in TV news and it was great when my son was little. I worked for two different CBS stations — first anchoring the weekend news and then the morning news in Dothan, Alabama. The shift was 2 am to 10 am, so after three years, I needed a change and a regular schedule. I then took a job in pharmaceutical sales, but was able to transition into stay-at-home mom and full-time writer soon after. It’s what I’ve always wanted to do as a career.

AM: Okay, on to Dancing Naked in Dixie. The protagonist of the book is Julia Sullivan. Tell us about her. What was the impetus behind this character? Did you develop her in stages, or did you have some preconceived notion of her character that you wanted to realize in the text?

LC: Fortunately, Julia Sullivan came to the pages of Dixie almost fully formed. She is a well-traveled writer, perpetually busy, and married to her job — largely to avoid dealing with her mother’s death, her boyfriend, and a painful estrangement from her father. She’s talented, with personality — but definitely has an ADHD side that gets her into some trouble when she acts before she thinks.

There’s a lot of me in Julia — especially since I made the move from New York to Alabama twelve years ago. Many of her experiences (sweet tea, fire ants) are based on my experiences.

Julia was developed with change in mind. I wanted her out of her comfort zone, in a totally new environment that she’d decided to dislike. Much of Dixie involves Julia discovering secrets about her parents’ relationship and realizing that forgiveness isn’t as frightening as she believes.

AM: Within the last month, I’ve become an Alabamian, and I grew up taking family vacations to Destin, Florida, by way of Eufaula, Alabama, so I’m interested in the role that Eufaula plays in Dancing Naked in Dixie. Why Eufaula? What made you choose this city?

LC: Eufaula is my favorite Alabama city. When I was an anchor at WTVY in Dothan, I loved driving up on the weekends and having a light lunch, stopping at Shorter Mansion, and browsing in the lovely gift shops. Lake Eufaula is nearby, and on my trips to Atlanta, I would often stop at the state park to take in the beautiful, calming scenery.

I’ve attended the Pilgrimage several times, but it was during one of the candlelight tours, with everyone in antebellum costume, that I decided Eufaula provided that bit of magic that would make it the perfect setting for a story.

AM: Julia is, you could say, a cosmopolitan jetsetter who, due to events largely out of her control, finds herself living and working in Alabama. Do you think the South is indispensable to your writing? In other words, could the narrative in Dancing Naked in Dixie have transpired in some other geographical area? If not, why not?

LC: The South is indispensable to Dixie, and all of my books, to some extent, have Southern ties. Julia’s story — her cosmopolitan edge and big city sharpness — had to be balanced out with the warm and loving nature of the Deep South. It became the perfect balance to round out her empty life, the yin to her yang.

I am sure that many talented writers could place the story with a “Julia” character traveling from the majestic Pacific Northwest to the warmth of New Mexico or Arizona, but I prefer to write from experience and draw on the sights and sounds that I know and love. For me, there’s a certain charm about the Deep South that can’t be duplicated.

AM: Where would you direct our readers to learn more about you and your work?

LC: I really appreciate my readers so much and love to hear from anyone who’s read my work. I welcome emails at laurenclarkbooks@gmail.com. I’m also on Goodreads (GoodReads), Facebook (Lauren Facebook) and Twitter (LaurenClark_Bks).

You can also find more information about my latest release Stardust Summer (February 14, 2013), on my website (Lauren Clark Books) and blog (Lauren Clark Blog).

Dixie on Amazon in paperback, ebook, or audiobook: Click here.

Dixie on BN.com: Click here.

AM: Thank you for taking the time, Lauren. I wish you all the best.

LC: Thank you.

Auction Announcement: William Spratling and William Faulkner, Sherwood Anderson and Other Famous Creoles: A Gallery of Contemporary New Orleans

In American History, Arts & Letters, Books, History, Humanities, Literature, News and Current Events, News Release, Southern History, Southern Literary Review, The South, Writing on April 5, 2013 at 8:45 am

Famous Creoles

William Spratling and William Faulkner, Sherwood Anderson and Other Famous Creoles: A Gallery of Contemporary New Orleans, published by Pelican Bookshop Press, New Orleans, 1926, first edition, first issue, number 217 of 250, bound in green boards, with label on front cover, interior of back cover with a label printed “Rebound in L’ATELIER Le Loup” and dated in ink “1986”.

Provenance: From the collection of Stephanie Durant, by descent from the collection of Ray Samuel.

A special copy of a rare and fragile book described by The Booklover’s Guide to New Orleans as “one of the great literary curiosities in the city’s history.” The book comprises Spratling’s drawings of himself, Faulkner, and 41 of their acquaintances–artists, musicians, academics, preservationists, and socialites, “artful and crafty ones of French Quarter” with some of their uptown friends and patrons. One was novelist Sherwood Anderson, and Faulkner’s introduction parodies Anderson’s style.

 

The note above is taken from the catalog description of an extraordinary book that will be sold at auction on April 19.  The book has been given by Stephanie Durant of New Orleans to be sold for the benefit of the Ogden Museum of Southern Art, and the sale will be conducted by the New Orleans Auction Galleries, which will donate its commission to the museum as well.

This copy is uniquely valuable because it is signed by 41 of the 43 persons included,

in a few cases with personal notes to its original owner. (See below for a complete list.) That number of autographs is certainly a record: The only other copy I know with more than a dozen or so is one with 31, and it was stolen from a Charlottesville, Virginia, bookshop some time ago.

The catalog description is accurate as far as it goes, but there is a great deal more to be said about this odd little book, written by two young men who went on to become arguably the greatest American novelist and the greatest Mexican silver designer of the twentieth century.  Those depicted include both figures well-known at the time, like writer Grace King and artist Ellsworth Woodward, and some who would become well-known later, like artist Caroline Durieux and writer Hamilton Basso. The title, an obscure joke, refers to a book of caricatures entitled The Prince of Wales and Other Famous Americans, by Vanity Fair cartoonist Miguel Covarrubias (to whom Famous Creoles is dedicated). The “Pelican Bookshop Press” was a fiction: Spratling and Faulkner paid a local printer to produce 250 copies. Spratling (though, note, not Faulkner) signed and hand-tinted some images in 50, mostly for the friends who were included. There was a second printing of 150 copies, somewhat less valuable on the rare book market. The book was not at all sturdy, and it is not unusual to find copies that have been repaired or, like this one, rebound. Many copies have presumably fallen apart and been discarded. Musician Harold Levy’s hand-tinted copy was destroyed by Hurricane Katrina.

The original owner of this particular copy, Stella Lengsfield Lazard, signed her name in ink on inside front. In 1926 Mrs. Lazard was 43. Her husband, Henry Calme Lazard, was a stockbroker related by blood and marriage to several distinguished mercantile and financial families in New Orleans and elsewhere. The couple had one grown son, and lived with her parents uptown on St. Charles Avenue.  (Her father was a successful cotton factor.)

Mrs. Lazard had literary, historical, and musical interests.  In 1925 she wrote a series of feature articles for the Times-Picayune on the mayors of New Orleans, and a few years later she served as narrator for a weekly musical program on WDSU radio, “Sweet Mystery of the Air,” featuring a trio of local musicians: harpist, violinist, and tenor.  To judge by the inscriptions in her copy of Famous Creoles, she was friends with a number of those included.  For instance, one reads, “To Stella, the star, from the stellar Helen Pitkin Schertz”; Flo Field wrote “Love to my old staunch [?] friend”; and William “Cicero” Odiorne, who was in Paris, wrote “When are you coming over?”

Others who did more than simply sign their names include writers Sherwood Anderson and Roark Bradford; artists Conrad Albrizio, Marc Antony, and Virginia Parker Nagel; Tulane cheerleader Marian Draper; and Lillian Friend Marcus, managing editor of the Double Dealer magazine. The presidents of Tulane and of Le Petit Théatre, A. B. Dinwiddie and Mrs. J. O. Nixon, simply added their institutional affiliations.  Natalie Scott just signed the page with her picture on it, but a note in Mrs. Lazard’s hand identifies a building shown in the picture as the Court of Two Sisters (which Miss Scott owned).  One amusing addition: On an almost blank page Arthur Feitel, a 34-year-old bachelor architect, wrote “Me, too” and signed his name.  Feitel, whose picture was not included, was a Tulane graduate who had studied at the Ecole des Beaux Arts; he would later serve as president of both the Art Association of New Orleans and the board of the Delgado Museum.

Only two “Famous Creoles” did not sign Mrs. Lazard’s book. One is easily explained. By the time the book appeared Ronald Hargrave was pretty much incommunicado; he was painting in Majorca, and he never returned to New Orleans. But the other missing signature is that of William Faulkner. It seems to me that Mrs. Lazard went to a great deal of trouble to track down people to sign her book (William Odiorne signed it, and he was in Paris), so it is almost inconceivable that she didn’t ask Faulkner. He must have refused to sign, possibly just out of general cussedness — he was known for being moody and sometimes difficult, and he didn’t sign the 50 copies that Spratling hand-tinted either. In addition, however, Faulkner didn’t care for “artsy” uptown people he thought were dilettantes (unlike Spratling, who enjoyed their company), and he may have viewed Mrs. Lazard as one of them. Whatever the explanation, in some ways Faulkner’s absence may actually be more interesting than a perfunctory autograph would have been.

Mrs. Lazard’s copy was eventually acquired by Stephanie Durant’s father, J. Raymond Samuel, a well-known historian, collector and (in his retirement years) dealer in books and art. On his death the book passed to Mrs. Durant, who has now generously given it to benefit the Ogden Museum.

 

–John Shelton Reed, University of North Carolina at Chapel Hill,

Author of Dixie Bohemia: A French Quarter Circle in the 1920s

 

Inquiries about the auction should be directed to :

 

Jelena James

New Orleans Auction Galleries                                                        <jelena@neworleansauction.com>

801 Magazine Street                                                                          800-501-0277
New Orleans, Louisiana 70130                                                        504-566-1849

 

“Famous Creoles”

(with ages in 1926)

Signed Lazard copy

Conrad Albrizio, 27

New York-born, serious artist, Spratling’s neighbor, Arts and Crafts Club

stalwart

Sherwood Anderson, 50

“Lion of the Latin Quarter,” eminence gris, generous to respectful younger

writers

Marc Antony and Lucille Godchaux Antony, both 28

Love-match between heiress and lower-middle-class boy, local artists

Hamilton “Ham” Basso, 22

Star-struck recent Tulane grad, aspiring writer, good dancer

Charles “Uncle Charlie” Bein, 35

Director of Arts and Crafts Club’s art school; lived with mother, sister,

and aunt

Frans Blom, 33

Danish archeologist of Maya, Tulane professor, colorful resident of

Quarter

Roark Bradford, 30

Newspaperman, jokester, hit pay dirt with Negro dialect stories

Nathaniel Cortlandt Curtis, 45

Tulane architecture professor, preservationist, recorded old buildings

Albert Bledsoe Dinwiddie, 55

President of Tulane, Presbyterian

Marian Draper, 20

Ziegfeld Follies alum, Tulane cheerleader, prize-winning architecture

student

Caroline “Carrie” Wogan Durieux, 30

Genuine Creole, talented artist living in Cuba and Mexico, painted by Rivera

Flo Field, 50

French Quarter guide, ex-journalist, sometime playwright, single mother

Louis Andrews Fischer, 25

Gender-bending Mardi Gras designer, named for her father

Meigs O. Frost, 44

Reporter’s reporter; lived in Quarter; covered crime, revolutions, and arts

Samuel Louis “Sam” Gilmore, 27

Greenery-yallery poet and playwright, from prominent family

Moise Goldstein, 44

Versatile and successful architect, preservationist, active in Arts and

Crafts Club

Weeks Hall, 32

Master of and slave to Shadows-on-the-Teche plantation, painter, deeply

strange

R. Emmet Kennedy, 49

Working-class Irish boy, collected and performed Negro songs and stories

Grace King, 74

Grande dame of local color literature and no-fault history, salonnière

Alberta Kinsey, 51

Quaker spinster, Quarter pioneer, indefatigable painter of courtyards

Richard R. Kirk, 49

Tulane English professor and poet, loyal Michigan Wolverine alumnus

Oliver La Farge, 25

New England Brahmin, Tulane anthropologist and fiction-writer, liked

a party

Harold Levy, 32

Musician who ran family’s box factory, knew everybody, turned up

everywhere

Lillian Friend Marcus, 35

Young widow from wealthy family, angel and manager of Double Dealer

John “Jack” McClure, 33

Poet, newspaper columnist and reviewer, Double Dealer editor, bookshop

owner

Virginia Parker Nagle, 29

Promising artist, governor’s niece, Arts and Crafts Club teacher

Louise Jonas “Mother” Nixon, 70

A founder of Le Petit Theatre and its president-for-life, well-

connected widow

William C. “Cicero” Odiorne, 45

Louche photographer, Famous Creoles’ Paris contact

Frederick “Freddie” Oechsner, 24

Recent Tulane graduate, ambitious cub reporter, amateur actor

Genevieve “Jenny” Pitot, 25

Old-family Creole, classical pianist living in New York, party girl

Lyle Saxon, 35

Journalist, raconteur, bon vivant, host, preservationist, bachelor

Helen Pitkin Schertz, 56

Clubwoman, civic activist, French Quarter guide, writer, harpist

Natalie Scott, 36

Journalist, equestrian, real-estate investor, Junior Leaguer, social

organizer

William “Bill” Spratling, 25

Famous Creoles illustrator, Tulane teacher, lynchpin of Quarter

social life

Keith Temple, 27

Australian editorial cartoonist, artist, sometimes pretended to be

a bishop

Fanny Craig Ventadour, 29

Painter, Arts and Crafts Club regular, lately married and living in

France

Elizebeth Werlein, 39

Suffragette with colorful past, crusading preservationist,

businessman’s widow

Joseph Woodson “Pops” Whitesell, 50

Photographic jack-of-all-trades, French Quarter eccentric,

inventor

Daniel “Dan” Whitney, 32

Arts and Crafts Club teacher, married (two) students, beauty

pageant judge

Ellsworth Woodward, 65

Artistic elder statesman, old-fashioned founder of Newcomb art

department

Did not sign Lazard copy

William “Bill” Faulkner, 29

Needs no introduction, but wrote the one to Famous Creoles

Ronald Hargrave, 44

Painter from Illinois formerly active in Quarter art scene,

relocated to Majorca

 

From Dixie Bohemia: A French Quarter Circle in the 1920s,

© 2012, LSU Press.

Allen Mendenhall Interviews Julia Nunnally Duncan

In Arts & Letters, Creative Writing, Humanities, Literature, Poetry on April 3, 2013 at 8:45 am

Julia Nunnally Duncan

This interview originally appeared here at Southern Literary Review.

AM: Thank you for taking the time to do this interview, and congratulations on your forthcoming book, Barefoot in the Snow. This is, I believe, your third collection of poetry. How does this one differ from your earlier books of poetry?

JND: Barefoot in the Snow reflects a more mature vision and perspective of events and people because these poems were mostly written in the past two or three years. Some poems in this collection, such as “His Hands” and “My Uncle’s Grave,” took a longer time to germinate and more courage to share. I can’t imagine having tackled these poems earlier in my life.

AM: T.S. Eliot once said that genuine poetry can communicate before it is understood. Do you try to communicate with readers, or do you write for yourself? The answer to that is probably both, so let me rephrase the question this way: do you have a particular audience in mind as you write poetry, or are you more consumed with the craft, with “getting it right,” so to speak?

JND: Unless I am writing for a specific magazine theme or contest, such as the poem “My Mother’s Elm” that I wrote to submit to the Joyce Kilmer Poetry Contest (and for which I was thankfully named a winner), I write only with the intention of composing the most honest and polished piece I can. But even with “My Mother’s Elm,” the poem took over once I started it, and I forgot the contest until I finished it. My goal was, most importantly, to capture a particular tree’s place in my childhood and to select my most poignant associations with the tree.

AM: Why do you write poetry?

JND: To capture memories, to record reflections, and to work out intellectual and psychological puzzles and give them tangible form that others might recognize and be moved by.

AM: You have written in a variety of genres. Which comes easiest for you?

JND: A poem is easiest because, in general, it takes shape and is completed more quickly than a short story, an essay, or a novel. I have also discovered that my poems tend to find a readership more quickly too. My novels might have garnered me wider recognition and usually more regional response, but poems have allowed me more comfortable expression of what’s in my heart.

AM: Do you find that poetry demands a certain economy of language that sets it apart from other forms of writing?

JND: By the nature of the poetic form—the condensation of language and attention to rhythm and line structure—I would say yes. However, my poems are narrative, often telling stories, so they’re somewhat similar to my prose. I think my prose is lyrical, too.

AM: Who are the writers that have influenced you, and to which writer would you say you owe the greatest debt?

JND: My first response to this question is always D.H. Lawrence, mostly because of his novel Sons and Lovers, which was the first work of his that I read as a young teenager. At that time, I was moved by the romance, especially between Paul and Miriam, but now when I read it as an adult, it’s obvious that the relationship between the son and his parents and the dynamics between Paul’s parents are most compelling and what have affected me.

The English midlands setting of Lawrence’s work, especially as described in Sons and Lovers, has always reminded me of my Western North Carolina landscape, particularly as it was in my childhood. Lawrence’s boyhood coal mining village of Eastwood is reminiscent of the Clinchfield Cotton Mill village where my mother grew up.

As far as poetry goes, Dante Gabriel Rossetti’s “Alas, So Long!” is a favorite, and Poe’s “Annabel Lee,” with its internal rhyme and alliteration—devices I use in my poems—has no doubt influenced me.

AM: Tell our readers where they can buy your latest book.

JND: Readers can order Barefoot in the Snow from the publisher World Audience Publishers at www.worldaudience.org. Online distributors such as amazon.com will also offer my book. If readers are interested in getting a signed copy, they can check my web page at www.thereadonwnc.ning.com/profile/JuliaNunnallyDuncan for an ongoing schedule of my appearances in WNC.

AM: Thank you, Julia, for taking the time to do this interview, and best of luck with everything.

JND: Thank you, Allen, for allowing me to share this information about Barefoot in the Snow and for giving me the opportunity to reflect upon my life as a poet.