Inter-American studies or Imperial American studies?

Abstract

As inter-American studies gain greater academic visibility, we are now in a position to ask whether the field constitutes an imperial threat to Latin American literary and cultural study, or whether it provides a valuable basis for cross-cultural comparison. Do inter-American studies represent the latest variation on the Monroe Doctrine of policing the region? What do we make of the fact that inter-American studies blossoms just as Latin Americanism becomes increasingly more powerful in the academy? This article argues that while questions of empire and appropriation must be considered as we assess this burgeoning field of inquiry, an inter-American perspective also affords possibilities for studying cultural production. These possibilities include comparative studies of works that have been largely marginalized by scholars of the Americas, such as Brazilian and indigenous literatures. In addition, the inter-American approach is able to put pressure on nationalist and cultural essentialist epistemes by focusing on the ways that culture often transgresses borders, both geographic and identitarian.     

'The look of hope or the look of sadness': Robert Frank's dialogical vision

Abstract

This article examines the work of Robert Frank with reference to his seminal photographic work, The Americans, and its relationships to his later post-1970s images. It argues that the 'outside eye' he brought to the US post-war consensus offered him a new comparative critical position and represented a fundamental, counter-cultural shift in the tradition of documentary photography. This vision formed around Frank's multiple 'dialogues', with the US social landscape, with earlier traditions of documentary and 'street' photography in Europe and the USA, and with the Beat generation's radical challenges to dominant post-war values. This 'moment' of overlapping and interconnected relations forms the basis for this discussion of Frank's importance as a 'political' commentator whose work has influenced generations of photographers and shares much with those writers who emerged as the Beats.     

Editorial

Abstract

Two language textbooks written in 17th century New England are examined, John Eliot's The Indian Grammar Begun and Roger Williams' A Key into the Language of America. Previously unnoticed links between these texts and traditional English forms of language teaching are demonstrated, and the argument is made that both men made conscious choices about how to adapt their experience of European linguistic models to the very different grammatical structures of Native American languages. These linguistic choices demonstrate the ways in which English and New English culture of the time used language to construct and display religious, social and national identities, using the contrast between Eliot's and Williams' lives and audiences at the time of writing in order to gain insight into the connections between language and identity in the period.     

'America' in transit The heresies of American studies abroad

Abstract

In arguing for the need to move beyond the export model and the global/local dialectic to internationalize American studies, this article explores the resiliency of the nation and nationalism to shape the transcontinental dynamics of the production, circulation, and consumption of 'America' as a commodity in a global market. In discussing the institutionalization of American studies in India, I argue that outside the boundaries of US American studies, we need to engage with the heretical practices of the globalization of American studies, which embody the translational yet conflictual itineraries of diverse interpretive communities across the world. Theorizing the relations among modernity, colonialism, and 'America', and re-imagining the emergence and significance of the many meanings and traditions of 'America' and American studies in transit along a global circuit are the central concerns of this article.     

'Another History': Alternative Americas in Paul Auster's Fiction

Abstract

Even though Paul Auster's work has been influenced by European writers, he is also a fundamentally American writer. His settings, many of his literary references, his characters and most of his themes are certainly American. And so is his interest in American history and reality. Moon Palace (1989), for example, deals with the creation of the myth of the American Dream as the country extended its frontier westward. One of the ways for Auster to express his concerns is the creation of parallel fictions like 'Kepler's Blood', a story-within-the-story which fictionally rewrites the origins of the US. Almost two decades later, Travels in the Scriptorium (2006) creates another Western American fiction by moving forward and describing a parallel nineteenth-century North America and a country called 'the Confederation'. Finally, in Man in the Dark (2008), Auster's effort at the creation of alternative Americas reaches the twenty-first century by showing a country where the 2000 election has led to secession and war. This essay analyses the parallel worlds created by Auster to question American myths and archetypes, particularly as they relate to the origins of the myths behind the creation of the United States of America.     

The fecundity of folkloric space: Revising hierarchies in Zora Neale Hurston's Mules and Men and Lydia Cabrera's Cuentos negros de Cuba

Abstract

This article looks briefly at differences between oral and literate cultures, discusses the personal positionality and institutional authority of Zora Neale Hurston and Lydia Cabrera vis-à-vis their Afro-New World folk stories, and then focuses on a comparative reading of three tropes present in both Hurston's Mules and Men (1935) and Cabrera's Cuentos negros de Cuba (1936, 1940). In their creation myths, stories of the struggle for gender dominance, and trickster stories, Hurston and Cabrera use the folkloric space outside of the modern geopolitical space of the nation as a place to deconstruct and reconstruct hierarchies, creating the possibility for speaking new identities and new worlds into being, thus denying the paradigms of identity articulated and enforced by official culture. The properties of this folkloric space allow for new identities to be formed, in which the radical othering of the African in the New World is replaced by more inclusive paradigms.     

William Blake and America: Freedom and Violence in the Atlantic World

Abstract

In this article, I consider the absence of a general readership of William Blake's poetry in nineteenth-century Britain and compare that neglect to the American Transcendentalists' reading of Songs of Innocence and Experience (1794) in the 1840s. The American interest in Blake's poetry is complemented by his fascination with the events in the Atlantic World in the years culminating in the American War of Independence. I will offer a reading of Blake's America: a Prophecy (1793) showing that the Civil War fulfilled his prophecy of inevitable future conflict. This is developed first by considering Ralph Waldo Emerson's changing responses to slavery and race during the turbulent middle decades of the century, and then by addressing Walt Whitman's attempt to negotiate postbellum America. This negotiation, I argue, results in the emergence of those two powerfully conflicting strains in his mature poetry: emancipatory fervour and simultaneous despair at the violence intrinsic in liberty.     

Enabling Fictions: Philip Roth's Prosthetic Anne Franks

Abstract

In this article, it is argued that insufficient attention has been paid to Philip Roth's uses of Anne Frank in his work. Concentrating on the 'Zuckerman' and 'Philip Roth' novels in which Anne Frank is discussed, it is illustrated that Anne Frank functions as a 'narrative prosthesis' not only in Roth's work and within American postwar culture, but that all representations of Anne Frank function as narrative prosthesis. The concept of Anne Frank as narrative prosthesis allows for recognition of the fact that Roth characterises writing and identity as prosthesis. Exploration of Roth's uses of Anne Frank also exposes problematics in his own work, particularly in his representations of women.     

Locating an American romanticism: Emerson,Cavell, 'Experience'

Abstract

This article reads Ralph Waldo Emerson's 1844 essay 'Experience' as a work of mourning that gives rise to critical reaction in the romantic tradition to specific philosophical ideas New England had imported from Europe early in the 19th century. The author reads this transatlantic interaction in the wider context of journal entries, arguing that the death of Emerson's son is a test to Emerson's philosophy and his literary form, indeed, the highest challenge, against which the claims of philosophy and literature could only fail. Moreover, it is the failure of his philosophy to contain his son's death, to express it, that makes Emerson's essay romantic. Defining romanticism as incompletion: the impossibility of a total system which would include, for example, the death of the other (Cavell, Lacoue-Labarthe, Nancy, Blanchot). This, the author argues, proposes a 'location' for American romanticism that constitutes an adequate response to Critchley's contention, in his reading of Cavell, that Emerson is not, in fact, romantic.     

Internationalizing the US Ethnic Canon: Revisiting Carlos Bulosan

Abstract

The quasi-autobiographical writing of Carlos Bulosan, a migrant farmworker from the US colony of the Philippines from the 1930s to the 1950s, was discovered by ethnic activists during the US Civil Rights struggles. Once adopted as canonical texts in the US academy from the 1980s on, Bulosan's radical edge was blunted in critical readings of his work, his subversive tendencies sanitized to promote a conformist multiculturalism. We need to recover a submerged decolonizing strand in the history of Filipino deracination, sedimented in Bulosan's testimonies. This essay seeks to excavate those oppositional impulses in Bulosan's works by re-contextualizing them in the anti-colonial revolutionary movement of Filipinos dating back to the revolution of 1896; to the Filipino-American War together with the peasant insurgencies during the first three decades of US occupation (1899–1935); and in the popular-front mobilization during the US Great Depression up to the onset of the Cold War. Re-situated in their historical-biographical milieu and geopolitical provenance, Bulosan's oeuvre acquires immediacy and resonance.