Pourquoi Piketty? French Enlightenment and the American Reception of Capital in the Twenty-First Century

Since French economist Thomas Piketty’s 2013 book on economics, economic history, and political economy appeared in English translation, it has made waves among American readers. In 2014, it spent nearly three months on the New York Times best-seller list and three weeks in first place. It was a media sensation. Worldwide, Capital in the Twenty-First Century has sold more than 1.5 million copies in 39 languages. Nobelist in economics and New York Times columnist Paul Krugman judged it the most important economics book of the decade.

Other timely studies have drawn similar conclusions about enduring and indeed increasing inequality of income distribution in the West. Piketty himself and with co-authors had already published preliminary findings. Yet these appealed primarily to specialists such as professional economists, sociologists, and historians. Strikingly, too, at nearly 700 pages, Capital appears better positioned to scare away readers than to attract them. Instead, the book has reached across the globe, and its author is now a widely recognized public figure.

So why Piketty? What accounts for the exceptional success of Capital? Many reviewers have noted that the book was well timed to resonate with American political debates that followed the 2008 financial crisis. Yet it is not merely a question of timeliness, nor of furnishing data to prove a central argument. Piketty’s study in economics is also an artifact of French culture that reflects France’s Enlightenment heritage and present-day norms. Surprisingly, across the vast response from journalists, the public, and specialists alike, the treatise’s cultural foundations have received hardly any analysis. Yet the author’s pedagogical and demystifying stance, humanistic and universalizing attitude, and approachable language are essential elements that shape the book’s presentation. These elements furnish a key to understanding its popularity among American readers.

More than most recent volumes authored by specialists, Capital sets out methodically to make economics understandable to the lay person and to emphasize inseparable links among economic, political, and social spheres. Having begun his career at an American university, Piketty critiques what he calls the “childish passion” of the discipline of economics, especially as practiced in this country, for “mathematics and for purely theoretical and often highly ideological speculation.” He comes down hard on what he terms the pretensions of economics to “scientific legitimacy” and the discipline’s tendency to disregard historical research, input from other social sciences, and fundamental questions about human society (32-33).

With such statements, Piketty draws attention to the mystique surrounding economics, encapsulated in the notion that it is far too complex for the non-specialist to understand. For his part, by rendering economic ideas, methods, and data accessible to readers, Piketty demystifies the very discipline. As a specialist, Piketty is himself a priest in the economic temple. Yet he has stated in a 2015 interview with historian Kenneth Mouré that “I want to reach normal people.” With Capital, he has stepped out of the inner sanctum, rejected the halo of the sacred, and mixed with the laity. To be sure, he is not alone in doing so. Paul Krugman, among others, regularly writes for non-specialist audiences about economics in its connections to politics and society. What is remarkable is Piketty’s persistent focus on data—tools of the quantitative economist—which he highlights even as he addresses general readers.

The data that he draws upon notably include lengthy runs from tax records from several countries, with some extending back nearly 250 years. From these emerge comparative sketches of the economic progress over time of several rich countries, including the United States and France. Stating that the data—much of it generated collaboratively—constitute the primordial contribution of his work, Piketty uses it to illustrate two consequential points. The first point is that over the long term in the wealthy countries under study, capital has accumulated at a greater rate than wealth from income has grown. As a result, the largest capital holders have accumulated wealth most quickly. This has held true of aristocratic and bourgeois elites in pre-Revolutionary France, wealthy Belle Époque French at the turn of the twentieth century, and the 1 percent in America today. Those who have already, get more, faster. The rich get richer. The poor, poorer, as popular culture has long had it.

 

The frontispiece from Le Financier reformé aux occasions des affaires de ce temps (1623) emphasizes links among money and power, economics and politics. In kneeling before the king, the financier spills a basket of coins. This suggests a careless attitude toward the public treasury. Is the financier handing in accounts to the king or giving orders? Courtesy Department of Special Collections, Stanford University Libraries.
The frontispiece from Le Financier reformé aux occasions des affaires de ce temps (1623) emphasizes links among money and power, economics and politics. In kneeling before the king, the financier spills a basket of coins. This suggests a careless attitude toward the public treasury. Is the financier handing in accounts to the king or giving orders? Courtesy Department of Special Collections, Stanford University Libraries.

The second essential point is that economies and markets are not natural phenomena, but rather human creations. Their workings reflect policies and laws, as well as myriad decisions that individuals make, both in private and in institutional and public contexts. As he argues, the data show that the current structures and processes function “mechanically” to accumulate capital and privilege in the hands of a few, to the social, political, and economic detriment of the many. Contrary to the notion advanced by Adam Smith in The Theory of Moral Sentiments (1759) and whose effects Smith described in The Wealth of Nations (1776), for Piketty, no “invisible hand” exists “naturally” to distribute wealth and effect economic equilibrium (9). Rather, Piketty’s data and arguments notably undermine the dogma dear to many Americans that an unfettered market rationally distributes wealth and develops democracy. His study underlines the sober—though not innovative—conclusion that the purportedly natural relationship between democracy and free-market economics is a mirage. It is a fictive alibi that obscures the destruction of American ideals of opportunity and equality. Tearing away the blinding veil of the national economic mythology, Piketty illuminates by means of data the gross workings of the system of concentration of private and corporate wealth by reinforcement of extant privilege.

The historical irony implied here is striking. In present-day America, the market economy fosters the unequal distribution of wealth and attendant privilege. Economic structures are deepening socio-economic distinctions and separating people into castes. Modern America—now a plutocracy—recalls other oligarchies, including the absolutist, monarchic state in eighteenth-century France. To recognize the nature of current conditions is therefore to face up to a historical responsibility and an ethical choice of grandiose proportion. Despite an overall increase in global wealth, in America, wealth inequality is notoriously great, and it is continuing to increase quickly, with consequent erosion of democratic customs and social justice. The current tendencies contradict political and social ideals of democracy, justice, equality, and opportunity. Is this state of affairs acceptable? This is the question that Piketty’s book ultimately sets before readers.

Because Piketty’s conclusions are far from original, they beg the question of his book’s hungry reception by American readers. What is unusual is the way that Piketty’s book works exceptionally hard to empower readers through knowledge and to set them onto a more equal footing with the specialist author and, by extension, with other economics experts. He admonishes readers that “all citizens should take a serious interest in money, its measurement, the facts surrounding it, and its history” and intones that “[r]efusing to deal with the numbers rarely serves the interests of the least well off” (577). Since we all participate in the economic and political system that Piketty addresses, it behooves us to understand it. What is remarkable is the way that Piketty—in the manner of his Enlightenment forbears—gives readers tools to actively learn and patiently incites them along the path to discovery.

To this reader, the relatively demotic style, exemplary sharing of information, and exhortatory stance loudly echo strategies that many an eighteenth-century French writer used to share critical knowledge—including knowledge about learning itself—with readers. Jean-Jacques Rousseau’s fictionalized treatise on teaching and learning Emile, or On Education (1762) laid down by example an influential theory of independent learning. Reading the novel, we see how the character of the knowledgeable tutor craftily leads his pupil to make discoveries and evaluate them on his own. In the collaborative multi-volume Encyclopedia that Denis Diderot and Jean Le Rond d’Alembert published over nearly 15 years (1751-65) during the mid-eighteenth century, the system of satirical and thought-provoking cross-referencing was designed to send readers from one article to the next, and in this way to encourage them to draw subversive conclusions based on the linkages among articles.

Similarly, Capital is laid out to encourage active learning on the part of readers. Within the text, the economist-author unpacks essential formulas and graphs, which he explains, lesson by lesson, to the reader. He indicates, furthermore, that his data are available for consultation. In fact, he has placed the data online, where they may be freely examined, along with, in the World Wealth and Income Database that he created with economists Facundo Alvaredo, Tony Atkinson, Emmanuel Saez, and Gabriel Zucman, expanded and also new sets covering additional nations. In a word, Piketty democratically shares his tool kit and techniques with the reader, to whom he further extends, as it were, the invitation to tinker as she sees fit.

Considered as an instrument of enlightenment for today, Piketty’s narrative, it appears, is meeting a need on the part of American readers to become better informed about economic matters, including achieving a deeper understanding of their social, cultural, and political dimensions. The explicit aim of the book is to “assist” readers to see dynamics at play in the economy and outline the choices that they will face in the future. This is a modest claim, but it certainly resonates with the book’s lucid, pedagogical exposition. Piketty states that his data and his own interpretations of it are mere “technicalities” and has repeated similar claims in interviews. That is, he has insisted that economic details are of contingent and provisional interest, only useful insofar as they can draw attention to and remediate injustice. To set things in perspective, he observes that, by contrast, climate change is a topic of truly pressing concern.

If this is so, we might ask why Piketty occupies so many pages with exposition of economic data, concepts, formulas, and history, and so few with direct discussion of social and political equality and environmental sustainability, beyond throwaway references? Why wrangle—at such length—big data, statistics, and mathematical formulas only to downplay, in the end, their importance relative to ultimate topics that are not even analyzed in detail?

Viewed from a different angle, the gesture is strategic. If Piketty’s ploy to draw readers evokes 250-year-old pedagogical ideals and communicative practices, he must deliver the immersion lesson in economics, but stop short of elaborate prescription. He must leave readers to draw their own conclusions and choose what to do with their new knowledge. The proceeding assumes that the reader is capable of learning about the important subject and worthy to judge its use. A fair number of individuals have stepped forward to meet Piketty’s challenge, through reading.

Beyond assuming intelligence and agency, Piketty appears to envision readers as possessing additional traits of a potentially disruptive nature to the current economic and political order. In contrast to much economic discourse and to common usage in media settings, the author does not refer to human persons as consumers, but rather as “citizens” and simply as “people.” He disdains the word “global” in favor of the planet Earth itself, referring to “planetary finance” and especially “planetary” concerns about human-induced climate change. These terms reflect lived circumstances, necessities, and ideals. While the “citizen” may be able to act at the level of the nation, her concerns, updated for current conditions of the transnational, finance-based economy, are now planetary.

In effect, the planetary agglomeration of citizens must be concerned about the same problem of rising inequality and wealth concentration. The vocabulary emphasizes the transcendent, universal nature of the predicament and the necessity for informed political participation by each person as citizen of a polity and of the human race. Against the paradigm of exploitation and division, a vision of relative equality and reciprocity comes into view, recalling typically French ideals of cosmopolitanism and appeals to a shared, if abstract, humanity. In point of fact, as Piketty reiterates, to more fairly distribute wealth, promote social mobility, and reshape the plutocracy back into a democracy, we must differently manage the market and economy. Since we have made the economy, we can also remodel it for the future, by changing policies, laws, expectations, and behaviors.

In a short period, Piketty has reached a broad audience who are now engaging in conversations about economics, reframed in terms of political economy. This is an important step—indeed, the necessary first step—to modify the current economic culture.

Further Reading

Critiques of economic discourse and practice appear in Donald N. McCloskey, The Rhetoric of Economics (Madison, Wis., 1985) and Gavin Wright, “Economic History as a Cure for Economics” in Schools of Thought: Twenty-Five Years of Interpretive Social Science (Princeton, N.J., 2001): 41-51.

From literary studies, Hans Robert Jauss discusses the interplay of reader expectations and responses in Toward an Aesthetic of Reception (Minneapolis, 1982).

Historian Arno Mayer drew conclusions about income distribution that pre-figure Piketty’s in The Persistence of the Old Regime: Europe to the Great War (New York, 1981; New York, 2010), while Pierre Rosanvallon similarly addresses related issues of social and economic inequality in The Society of Equals (Paris, 2011; Cambridge, Mass., 2013).

An essential earlier publication from Thomas Piketty co-authored with Emmanuel Saez is “Income Inequality in the United States, 1913-1998,” The Quarterly Journal of Economics 118:1 (February 2003): 1-39.

For French and American attitudes toward politics, economics, and culture, Alexis de Tocqueville’s Democracy in America (Paris, 1835/1840; New York, 2004) is indispensable.

Richard F. Kuisel’s Capitalism and the State in Modern France: Renovation and Economic Management in the Twentieth Century (New York, 1981) and The French Way: How the French Embraced and Rejected American Values and Power (Princeton, N.J., 2012) illuminate the specificity of modern French political economy and culture.

From sociology, Michèle Lamont’s Money, Morals, and Manners: The Culture of the French and American Middle Class (Chicago, 1992) compares views of money and economics in France and America.

 

This article originally appeared in issue 16.3 (Summer, 2016).


Julia Abramson is a professor of French and Francophone Studies at the University of Oklahoma and the author of Learning from Lying: Paradoxes of the Literary Mystification (2005) and Food Culture in France (2007). A recent Gustave Gimon Research Fellow in the History of French Political Economy at Stanford University and recipient of a research grant from the Hagley Center for the History of Business, Technology, and Society, she is writing a new book about finance and culture.




Future by Numbers

To start at the ending: in the conclusion to Capital in the Twenty-First Century, Piketty suggests the book had been a presentation of “the current state of our historical knowledge concerning the dynamics of the distribution of wealth and income since the eighteenth century.” The documentation for this kind of historiography distinguishes Piketty’s text. The book is an interpretation of an unprecedented amount of historical numerical data, a collection “more extensive than any previous author has assembled,” but inevitably “imperfect and incomplete.”

To speak of the imperfection and incompleteness of numerical data about the life of capital in the twenty-first century is, for Piketty, a way of speaking about the work of the economist. The data have no inherent purpose, and will only do the work to which the economist puts them. Here they allow him to model a study that can disrupt the “intellectual and political debate about the distribution of wealth [that] has long been based on an abundance of prejudice and a paucity of fact.” Piketty wants the book to have a motivating effect, and become material for “lessons [that] can be drawn for the century ahead.” The economist uses numerical data as evidence, but it is not his job to “produce mathematical certainties” that would “substitute for democratic debate.” Economics looks like political economy again: the people are back in it.

The book insists from the very beginning that its narrative about capital is an alternative to the Marxist eschatology ruled by the “principle of infinite accumulation.” This kind of narrative would have arrogated a whole world to itself, until it did away with the world altogether. Having avoided the “Marxist apocalypse,” we find, however, that the “distribution of wealth is too important an issue to be left to economists, sociologists, historians, and philosophers. It is of interest to everyone, and that is a good thing.” Apocalypse averted, the post-apocalypse still seems deeply fascinated with the tendency of any “market economy based on private property, if left to itself,” to create “powerful forces of divergence which are potentially threatening to democratic societies and to the values of social justice on which they are based.”

Drawing on the new, transnational, numerical historical facts, Piketty argues there are economic forces at large in the world that create the discrepancy between the rates of return on capital and the rates of growth of income and output. “The inequality expresses a fundamental logical contradiction,” Piketty argues. This seeming paradox allows old wealth to grow faster than output and wages: this is how “the past devours the future.” The consequences of such logic of wealth distribution are “potentially terrifying,” the more so because the financial dynamic is now impeccably documented. Perhaps we are not past the apocalypse just yet.

 

1. “Die Auswanderer,” engraving by John Rogers, printed by H. Peters as premium print for the fifteenth issue of the New-Yorker Criminal-Zeitung and Belletristisches Journal (New York, ca. 1852). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
1. “Die Auswanderer,” engraving by John Rogers, printed by H. Peters as a premium print for the fifteenth issue of the New-Yorker Criminal-Zeitung and Belletristisches Journal (New York, ca. 1852). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

What are these unspeakable terrors lurking beyond the curve? Unprecedented in depth and volume, the data index the significance of new technological powers available to researchers with a new kind of work to do. They are no longer just looking at comparative information on income and taxation from disparate national markets (the somewhat unexhilarating area of Piketty’s “primary” academic expertise). Piketty aspires to refurbish earlier narratives that have treated capital and capitalism as a political and social force field intrinsically related to what Piketty calls the “ideal society.” He marks the work of seventeenth- and eighteenth-century writers about the movement of capital (Marx, Ricardo, Malthus, Smith, Locke) as the work of storytellers whose claims about the workings of capital could be read as imaginative and representative, speculative and predictive. Piketty argues that the technological powers that generate the data, and their global reach, redeem these old narratives from their speculative insecurities, and re-assert the ethical dimension of writing about money (fig. 1).

Capital offers to use numerical data to redeem the powers of prophecy by empiricism. Numbers become a kind of thick description that transforms the nature of reference: all who agree to read these statistics the right way can have a glimpse of the shared (terrifying) future. Then the data can become a synthetic and synoptic body of evidence for the existence of the global process the book plots out. We can now claim to see the future of “everyone,” and this is why “everyone” should care. Seemingly boring volumes and genealogies of numerical information lend credence to a catastrophic social and political future that will grow from our economic history and the present.

Capital is a great narrative about the cost of ambivalence about reading science as prophecy, or numerical representation as mythology, when all are understood to be social and historical discourses. If read correctly (as “terrifying”), this twenty-first-century story about capital should propel “everyone” not just to become interested in the adventures of capital, but to act on their new knowledge. But how are readers to know that this is a book about them? Even if they can see the same future from the same numbers, how will they be saved from (the fear of) becoming the victims of capital? Piketty explains that the rate of return on capital now grows irrespective of the actions of its owners. Quite frequently the owners need do nothing at all, such that it looks as if capital moved itself, an agent in its own right, seamlessly conjoined with culture, nation, and social policy. And yet this movement is generated by precisely the “society” whose institutions, labor laws, and assessments of risk and profit create its trends. Readers’ interest and actions would be meaningful in the context of the democratic society that wants to see and mitigate the “strangeness” of the logic of capital accumulation. But who can plot for a more ideal society when, in the immortal words of Margaret Thatcher, there is no such thing as society?

 

2. “The Emigrants,” engraved by George W. Hatch after painting by Alvan Fisher. Plate accompanies “The Emigrant” by Mrs. Hale in Token, published by S.G. Goodrich (Boston, 1829). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
2. “The Emigrants,” engraved by George W. Hatch after painting by Alvan Fisher. Plate accompanies “The Emigrant” by Mrs. Hale in Token, published by S.G. Goodrich (Boston, 1829). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

It is revealing then that, to correct the “logical inconsistency” of wealth inequality, Piketty recommends the implementation of a “global capital tax.” In order to treat taxation of capital socially and politically the way capital usually likes to treat itself, the global tax would disregard the borders of nation states, much like capital and its owners do in the pursuit of new markets. This tax assumes that a fundamentally different relationship between the financial and the socio-political is still possible—that there are people still in there.

But this ideal is not to be, or not just yet. Capital remains unconcerned with even wealth distribution precisely where its definitions of the social are confined to those that serve the nation state, that is, where it shows itself not to be the origin or a natural byproduct of democracy. It implements national borders, denies legal protections, restricts access to living wage, and unfurls militarized law enforcement against “economic migrants” (fig. 2).

A stark reminder of the socio-political entanglements of capital, the ongoing refugee crisis has pushed millions from regions decimated by lethal political violence. The violence followed unchecked depletion of natural resources, coordinated by global political and economic systems glad to unsee the origin of their propulsion fuel. Drifting away from these destroyed (post)colonial national economies (can it ever be only one?), the refugees negotiate administrative and physical barriers to their migration toward imagined centers of more equitable capital distribution in Europe’s North and West. As they attempt physically to approach their fantasies of a more ideal society, the migrants learn, as Slavoj Žižek puts it, that “‘there is no Norway,’ even in Norway.” It’s as though everybody is in the future already.

 

3. Ilektra Mandragou carrying a protest sign during Occupy Wall Street at Times Square on October 15, 2011. Protests were prompted by the Great Recession of 2008. Photo by Neil Girling. Courtesy of Creative Commons.
3. Ilektra Mandragou carrying a protest sign during Occupy Wall Street at Times Square on October 15, 2011. Protests were prompted by the Great Recession of 2008. Photo by Neil Girling. Courtesy of Creative Commons.

Then we can only start at the ending. Thick numerical description concerns “everyone” only if “everyone” had been waiting for numerical facts to issue their prophecies about what may befall “everyone” in a society that needs few people in it to make its money. We should not forget how prophecies were made from the insight and knowledge prior to the abstraction of data sets, about the way money and people have treated each other in the flesh. Saree Makdisi tells us in Romantic Imperialism that William Blake already spoke like a prophet without numbers, 200 years ago, when he versified about the power of the formal logic of global capitalism to forge the manacles of modern subjects’ experience across a “Universal Empire.” Some it enslaved, some it made into indigent children who could fit in a chimney that needed cleaning, and some into “aged men wise guardians of the poor.”

Readers of Piketty’s Capital could do worse than to learn from readers of the gothic about the frustration of reading and writing about a kind of reality nobody else can or wants to see. It is a description of an unnatural order of things that feels familiar nonetheless. Such a reality is terrifying, and reading about it is only stupid if one insists on knowing only one language and only one way to read. Forces greater than those of visible society, and greater than the observable masses of people and numbers, shape this reality and this reading. Right now, at the end, one must learn to imagine how else to know them and how to live with them.

 

This article originally appeared in issue 16.3 (Summer, 2016).


Olivera Jokic is associate professor of English at John Jay College of the City University of New York. She writes and teaches about gender, colonialism, and eighteenth- and nineteenth-century literature, and about their relationship to histories of writing and methodologies of textual interpretation.




Constructing the Magazine of Early American Datasets (MEAD): An Invitation to Share and Use Data about Early America

The Problem of Disappearing Data

Data. Before postmodernism, or environmental history, or the cultural turn, or the geographic turn, and even before Brent Spiner’s character on Star Trek: The Next Generation, historians began to gather and analyze quantitative evidence to understand the past. As computers became common during the 1970s and 1980s, scholars responded by painstakingly compiling and analyzing datasets, using that evidence to propose powerful new historical interpretations. Today, much of that information (as well as the data compiled since) is in danger of disappearing. As a profession, we are experiencing a generational shift, and much of the data created several decades ago has already been lost. More will disappear in the coming years if not preserved soon.

Disappearing data is not unique to early American historians, although some of the problems may be related to the academic culture of the humanities. In social science fields like economics, political science, psychology, and sociology, multiple factors have resulted in a scholarly culture that preserves a good deal of its data. Many projects attract funding from the federal government, often from the National Science Foundation, which requires the resulting data to be made available to the public. Researchers in the social sciences often work in teams, and so are used to collaboration. Their disciplines frequently value new research by junior scholars and graduate students using previously generated data. Most journals that publish data-driven articles in the social sciences also require the posting of datasets as a condition of publication. Furthermore, with the Inter-university Consortium for Political and Social Research (ICPSR) and other repositories, practitioners in these disciplines have access to considerable infrastructure to preserve their data.

By contrast, as humanists, historians tend to think of research as a more solitary enterprise. We treat our compiled data much as we do our notes: as raw materials of little value to anyone but ourselves. Because we think of data preservation as a personal rather than an institutional issue, our datasets are vulnerable to all the vagaries caused by quickly changing technologies. Physical media likewise degrade and become obsolete, making data recorded in those formats hard to decipher even if one can find the machinery to read them. Today, for example, most university Information Technology departments no longer possess apparatuses to read floppy discs or Zip drives.

Software packages have also changed dramatically during the past few decades and will continue to do so. Data in some formats favored by past generations of historians, like Statistical Analysis System (SAS) or Statistical Package for the Social Sciences (SPSS), can still be transferred to newer formats, but more arcane ones can be almost impossible to decipher without a great deal of highly technical work. As Jeff Rothenberg, a computer scientist, wryly observed two decades ago, “It is only slightly facetious to say that digital information lasts forever—or five years, whichever comes first.” The problem has grown increasingly severe ever since.

Preserving Early American Data in MEAD: The Magazine of Early American Datasets

 

1. The homepage of MEAD: The Magazine of Early American Datasets. Courtesy of the University of Pennsylvania Libraries.
1. The homepage of MEAD: The Magazine of Early American Datasets. Courtesy of the University of Pennsylvania Libraries.

In an effort to combat the problem of disappearing data, we have developed MEAD: The Magazine of Early American Datasets, which has been designed to preserve and share, openly and freely, statistical data about early America. We appeal to all early American historians to take the time both to preserve and to share their statistical evidence with present and future scholars. It will not only be a legacy to the profession, but will also encourage historians to share their evidence more openly and provide a foundation on which scholars can continue to build.

We created MEAD with the generous support of the McNeil Center for Early American Studies, the University of Pennsylvania Libraries, and Bepress (the open-access electronic publishing platform behind the Digital Commons software that many universities and research centers rely on for their institutional repositories). A handful of scholars—including Gary B. Nash, Robert E. Wright, and Thomas J. Humphrey, and the authors of this essay—have already loaded datasets to MEAD. Even with the minimal datasets it currently hosts, MEAD is already of interest to many people around the world: more than 1,500 people from the United States, Russia, India, and China have accessed and downloaded these datasets.

To make the initiative successful, we need more datasets. It is in this spirit that we make the following appeals for scholars of early America to share their statistical evidence. We would love to have your datasets, your huddled 1’s and 0’s (and other numbers and letters) yearning to be freely used by other scholars.  Once loaded onto the Website, the files will be enduring. Each dataset in MEAD has its own unique, permanent URL, which means that users can link to them with the assurance that they will never die or require updating. In addition, the files are available to any scholar, teacher, genealogist, or layperson who can access the Internet.

 

2. Uploading data to MEAD. Courtesy of the University of Pennsylvania Libraries.
2. Uploading data to MEAD. Courtesy of the University of Pennsylvania Libraries.

The process of submitting a dataset is (relatively) painless. Scholars may mount datasets themselves. Contributors can go to the site, click on the “submit research” link, and get started. Once data suppliers open a free account (no information required beyond name and email address, which will never be shared), they are directed to a page with fields for bibliographic information, both about the original source material and about the dataset generated from it. Users upload the dataset and any additional explanatory material, such as a codebook or relevant information about how the dataset was generated. The directors of MEAD take it from there. Alternatively, if they prefer, contributors can e-mail us the files and the associated information, and we will fill out the forms and upload the files. To download files is even easier. After setting up an account, simply click on the dataset and follow the directions to download. The entire process of submitting a file takes less than fifteen minutes, and we approve submissions within a few days to make certain they appear on the site.

MEAD and the University of Pennsylvania Libraries’ ScholarlyCommons

MEAD is hosted by the Penn Libraries’ ScholarlyCommons, the institutional repository of the University of Pennsylvania. The mission of the ScholarlyCommons is, in part, to support open access to innovative research and new publishing models; visibility of Penn scholarship, and sustainability of Penn’s academic endeavors

Because MEAD’s purpose coincides with the goals of the ScholarlyCommons, the two are natural partners. All relevant submissions are accepted regardless of the creators’ association with the University of Pennsylvania because MEAD furthers the mission of the McNeil Center.

ScholarlyCommons uses Bepress’ Digital Commons platform, which was developed by scholars at the University of California, Berkeley, as an alternative to the for-profit dominated academic journal publishing industry. Hundreds of institutions use Digital Commons to host publicly accessible scholarly material.

There are numerous advantages to using a repository such as ScholarlyCommons. One is search engine optimization. Scholars employ the Internet to connect with scholarly works and raw data, which creates a need for machine-readable materials, quality metadata, and the accessibility of the materials to ensure that researchers are able to discover the most useful resources available. Everything in ScholarlyCommons is fully indexed in search engines. Each dataset can be tagged with associated disciplines that, in addition, place them in Digital Commons’ subject-based repositories, thereby further increasing the visibility and discoverability of the datasets.

Another advantage is persistent URLs. Each dataset in MEAD has its own unique, permanent URL, which means that users can link to them with the assurance that they will never die or require updating. The metadata created for the series is designed to provide context for the datasets—when and how the information was gathered, coverage, publications based on the datasets, related datasets, and the like—as well as to help users find similar materials.

There is an increasing need not only to make information openly accessible but also to convey how that information can be reused. Submissions to the MEAD series are required to have a Creative Commons Attribution License. This license allows users to share and adapt the content for any purpose while maintaining the integrity and maximizing the accessibility of the original data. All users must provide a link to the license, indicate if changes were made, and avoid any suggestion that the licensor endorses the use made of the data. Furthermore, users may not apply legal terms or technologies that restrict access to the original information.

Current and Future Issues

One major struggle we have encountered, as we anticipated, is convincing historians to submit their datasets. It has not been for lack of trying. We have been advertising the project publicly, and this essay belongs to that effort. We have privately contacted dozens of scholars, each of whom spent many mind-numbing hours sweating over tax lists, census registers, merchants’ ledgers, women’s journals, men’s diaries, plantation records, or newspaper advertisements for runaway slaves. We appreciate their efforts to enter thousands of pieces of information into computer files and then analyze the evidence to help deepen our understanding of early America. We would love to have these scholars make one more pass through their data and to load it online to MEAD.

On the one hand, scholars whom we have approached are enthusiastic to preserve and share their records. Few of them want their hard work to disappear. On the other hand, only a handful of historians have taken up the offer. One reason, as suggested earlier, may be rooted in how we treat our datasets—as notes for ourselves alone, rather than as a community resource. As a result, most historians’ datasets are messy: they might have inconsistent spellings or capitalization, extraneous columns or rows, or other anomalies that the person who compiled it understands and accepts. Some of those reflect the source material; others are artifacts of the process of compiling or data entry. Regardless, the scholar who created the datasets assumes that she is the only one who will use the data, so she did not take the time to make it cleaner for someone less familiar with the sources or the process. Revisiting and cleaning datasets does require time and energy. Most conversations or e-mail exchanges with potential contributors result in the perfectly understandable response that their data requires some more work to be useful to others. Moreover, historians would rather spend time on their next project rather than on cleaning up data for their old one. It is all quite understandable, but it does mean that the data will continue to disappear and our profession and understanding of history may be the worse for it.

We will keep reminding scholars of the value of preserving their datasets. In the meantime, if you have created any files full of numbers, names, dates, prices, or places, or even jokes, then please consider submitting them to MEAD.

 

This article originally appeared in issue 16.3 (Summer, 2016).


Billy G. Smith, bgs@montana.edu, professor, Montana State University
Nicholas Okrent, Research and Instructional Services, University of Pennsylvania
Andrew M. Schocket, aschock@bgsu.edu, professor, Bowling Green State University
Sarah Wipperman, Repository Services, University of Pennsylvania

We encourage Common-place readers to add to our list of digital resources for the study of early American history and culture by contributing to the Zotero group Suggestion Box for Common-place Web Library or by emailing suggestions to Web Library editor Edward Whitley (whitley@lehigh.edu).




The American Republic and the French Revolution

Francois Furstenberg, When the United States Spoke French: Five Refugees Who Shaped a Nation. New York: Penguin Press, 2014. 512 pp., $20.
Francois Furstenberg, When the United States Spoke French: Five Refugees Who Shaped a Nation. New York: Penguin Press, 2014. 512 pp., $20.

In some ways, historians of the American Revolution took the global turn long before it was en vogue. Their subject all but required it. The American republic was forged amidst competing empires and the seminal moment of its revolution was declaring its independence from one of them. Yet, the political history of the American founding remains a largely national one. The English—and the enlightened Scots—provided pools of thought from which the colonists fished ideas, sometimes with origins outside the Anglo world. But the story is often filtered through Britain and, more importantly, almost always turns out uniquely American.

Meanwhile, prominent historians of France are recently pointing to the global roots, spurs, and influences of the French Revolution as the most promising path to new understandings of the long-studied event. A 2013 volume edited by Lynn Hunt, Suzanne Desan, and William Max Nelson—The French Revolution in Global Perspective—offers an array of essays seeking to trace the economic sinews, imperial tendencies, and, crucially, intellectual threads feeding into and streaming out of the country in the late eighteenth century. Some of the most promising essays in the collection explore the links between French and American revolutionaries and the course of these two events. The work points to one path for potentially enriching the political history of the American founding; the exchange of ideas between France and the United States is “ripe for re-exploration,” as David Bell suggested in a recent essay in French Historical Studies.

 

Seth Cotlar, Tom Paine’s America: The Rise and Fall of Transatlantic Radicalism in the Early Republic. Charlottesville: University of Virginia Press, 2011. 288 pp., $39.50.
Seth Cotlar, Tom Paine’s America: The Rise and Fall of Transatlantic Radicalism in the Early Republic. Charlottesville: University of Virginia Press, 2011. 288 pp., $39.50.

Would the political history of the American Revolution look different if scholars of the United States took up this task? Three recent books on the influence of the French Revolution in the early American republic suggest that it would. Francois Furstenberg’s When the United States Spoke French: Five Refugees Who Shaped a Nation (2014), Seth Cotlar’s Tom Paine’s America: The Rise and Fall of Transatlantic Radicalism in the Early Republic (2011), and Philipp Ziesche’s Cosmopolitan Patriots: Americans in Paris in the Age of Revolution (2010), treat the early republic alongside the French Revolution, revealing the perspective to be gained from integrating France into interpretations of the American founding. These books examine American politics in relation to France during the 1790s, after most historians agree the revolution had technically ended, yet in taking this approach the authors challenge the boundaries of what constitutes the revolutionary period in North America. They also suggest, perhaps unwittingly, a comparison with the French Revolution that has yet to be fully explored: the common problem of defining a revolution—both its chronology and its character.

Historians’ tendency to focus on American perceptions of France in the early national period is likely due to the chronological concurrence of events; the French stormed the Bastille only after George Washington was inaugurated as the first president of the United States. For decades, historians have recognized the important role relations with France and perceptions of French events played in domestic political polarization. The early national press was filled with discussions of France, Congress teemed with debates over relations with the country, and political societies proliferated proclaiming support for their French brethren. More recently, historians have begun exploring the impact of the slave-led revolution that broke out in Saint Domingue, showing how it shaped American perceptions of their own revolution and that of the French. Leaving Haiti out of the story is certainly no longer a viable approach when integrating American history into the Atlantic context. And yet, the Atlantic framework still has yet to fully embrace the Franco-American sphere on an east-west axis. Furstenberg, Cotlar, and Ziesche show how bringing the French Revolution into the American story necessitates a reconsideration of the rigid distinction between the revolutionary and early republican periods. If this distinction is softened, comparative and transnational analysis of the French and American Revolutions can yield new interpretations of the political history of the American founding and the nature of the revolution.

 

Philipp Ziesche. Cosmopolitan Patriots: Americans in Paris in the Age of Revolution. Charlottesville: University of Virginia Press, 2010. 256 pp., $43.50.
Philipp Ziesche, Cosmopolitan Patriots: Americans in Paris in the Age of Revolution. Charlottesville: University of Virginia Press, 2010. 256 pp., $43.50.

It is the pervasive French presence in the early republic that Francois Furstenberg takes as the premise for his study of early America in When the United States Spoke French. Basing his story in Philadelphia, with the Ohio and Mississippi Valleys as ever-present imagined—and sometimes actual—destinations, Furstenberg follows the trail of French influence deep into the nascent United States. The book begins with the image of “revolutionary sparks, set off by the great explosion in France, fly[ing] upward,” some of which, Furstenberg sets out to show, fell in North America (1). These sparks, in Furstenberg’s study, were first and foremost the moderate émigrés reformers who fled the radicalizing violence of the French Revolution and the cultural and financial influences they brought to the American republic. Furstenberg traces the lives of this handful of men, who forged a vibrant French community amid the elite Federalist fever for French culture and capital in Philadelphia, only to end up fleeing their adoptive country and, for many of them, take prominent places in the Napoleonic regime (376). While most books on the early republic tend to trace American perceptions of France, Furstenberg uses French perceptions of America to try to further illuminate the country’s evolution. The approach yields new insight into the transformation of the American republic from a fragmented state into a unified country (16). Yet, being told through the journeys of French nationals, the book perhaps sheds more light on the course of French politics, the successive contested iterations of revolution, and the shifting strategic underpinnings of French involvement in North America.

Of course, elite émigrés and their cultural and financial connections were not the only sparks that flew from France and landed in the United States. Political events and ideas were omnipresent, though in the background of Furstenberg’s study. Foregrounding the influence of French style among Federalists, émigré land speculation, personal social connections, and high diplomacy, Furstenberg shifts focus away from the popular fervor for French republicanism and how it shaped American political development. The émigrés found a Philadelphia full of “Americans seeking to live like French aristocrats,” where trade between French and American merchants was surging and the moderate enlightenment spirit of the early French Revolution continued to thrive (95, 107). At the same time, though, they confronted a popular passion for the French Revolution that they had been trying to escape (115). This is not entirely lost in Furstenberg’s book, which dedicates many passages to French envoy Edmond Charles Genêt and diplomacy out of doors. Furstenberg also reminds us that many Americans wanted to enter a war against Great Britain in the mid-1790s, viewing it as an extension of the revolution—a perspective that makes the decade itself look a little more revolutionary (51). Yet, he does not pursue this tension as much as it begs to be investigated. The strength of the study is undoubtedly that it pushes beyond the usual investigation of popular perceptions of France in the press to show another, competing version of France that was perhaps just as prominent in the early republic. American politicians were in constant conversation with French figures, but they were those who had led moderate reform efforts in the early National Assembly and found themselves at odds with the France that was increasingly celebrated in American streets. By illuminating the influence of elite French figures connected to prominent Americans, Furstenberg effectively shows how France in early America was not one country, idea, or force, but many.

In linking his study to individuals who travelled back and forth across the Atlantic, Furstenberg followed a formula common among historians seeking an exchange of ideas and experiences. The title of Seth Cotlar’s 2011 book on democratic thinking in the early republic speaks to this approach, but takes a very different methodological tack. In Tom Paine’s America: The Rise and Fall of Transatlantic Radicalism in the Early Republic, Cotlar attempts a history of ideas from the bottom up by examining the development of democratic thought in relation to the French Revolution (9). Focused, again, on the early national period, Cotlar uses Paine and his publications as signposts to trace a transformation in thinking about democracy and national identity from the early 1790s through the turn of the century. Cotlar argues that the outbreak of the French Revolution and its universal utopianism shaped democratic discourse in America, providing the opponents of Federalists a legitimate angle from which to critique what they saw as an abandonment of the American Revolution’s potential (67). In the process, Republican newspaper editors played a crucial role in translating local struggles into the context of global ideological battles by linking them to events in France (73). In Cotlar’s study, the ideological and political revolution is, in many respects, still being fought well into the 1790s.

The book’s arc ultimately traces a bend away from the radical infusions of French ideas into American democratic discourse and thinking. Cotlar argues that the French Revolution sparked debates about the meaning and role of democracy in the American republic, animating struggles to define the nature of the American nation and the values underpinning it. Americans experimented with radical forms of political organizing following French examples, Cotlar argues, but conceptions of democracy first forged in explicit relation to or even emulation of the French soon turned against cosmopolitan and French ideals. Early in the 1790s, Republicans adopted associational models to advance conceptions of active citizenship, which Cotlar says they perceived to be similar and related to the Jacobin movement in France (171). Yet, 1794 proved a turning point, after which political societies and associations were decried as unnecessary based on the notion that America was not like France (189). Such a shift away from cosmopolitan, radical thinking and the linking of the American with the French Revolution, left someone like Tom Paine an outcast in the country he had been instrumental in founding (211).

Both Cotlar and Furstenberg focus in some manner on the influence of the French on Americans. There remains remarkably little scholarly work on influences of American Revolutionary thinking and experience abroad, especially in France. Some historians have cast a cursory glance at potential repercussions, including Furstenberg in the first chapter of his book, but serious analysis remains sparse. Studies that attempt to trace influence from America to France are often based on French individuals who fought in the American war of independence and then played a political role in the French Revolution. Most common among these figures is the Marquis de Lafayette, who has been the subject of many biographies that seek to treat the revolution in France as a failed attempt to implement American ideas. Some historians of revolutionary America, including Joyce Appleby and Jon Butler, have made gestures toward the importance of American revolutionary thought on the French, but their perspectives are firmly rooted in the United States with too little effort devoted to tracing the travel and iteration of ideas to the European continent.

In his 2010 book, Cosmopolitan Patriots: Americans in Paris in the Age of Revolution, Ziesche addresses this lacuna, picking up cosmopolitanism as a lens through which to examine the historical emergence of the idea of America first as a global example, then as an exception. Interested in the tension between cosmopolitanism and nationalism in the early republic, Ziesche carries out his study through individual Americans who spent time in Paris in the 1790s in order to trace the divergence between ideology and practice in regards to exporting American political thinking. In many ways Ziesche’s book takes an approach similar to that of Furstenberg, following elite individuals across the Atlantic in the opposite direction. Though he concludes in the introduction that “even at the height of the Franco-American friendship, the role of Americans in French politics remained largely symbolic,” Ziesche argues that American experiences in France ultimately shaped identity and political thinking back in the Western Hemisphere (5). The nearly contemporaneous example of the French Revolution, in his telling, was constitutive of American thinking about its own founding and the formation of its ideological identity. By the late 1790s, Americans distrusted the “cosmopolitan patriots” who remained in Paris, seeing them as “examples of the corrosive influence” of the French Revolution on the American republic (115). Federalists, Ziesche argues, used the turn against the French following the 1797 XYZ Affair to begin attacking cosmopolitanism as a force that undermined domestic national ties (120). The Federalist interpretation of the French Revolution as a failed application of republican principles, contrasted with American success, remains, Ziesche concludes, a trope to this day.

Ziesche engages in some degree of comparative analysis, arguing that both countries maintained a paradoxical attachment to cosmopolitan exportation of republican ideals while practicing what he calls a “politics of exclusion” in the 1790s (12). By mid-decade, he writes, political elites in both countries were attempting to reach a stable political situation, rejecting the more utopian elements of revolutionary ideology in favor of consolidating power in the hands of the few. “The people appeared as both the source of legitimacy and an agent of disorder as political elites in America and France tenaciously clung to the ideal of a united, harmonious, and stable political domain,” he writes (91). In this vein, Ziesche compares the French Constitution of 1795 to the American Constitution and Federalist interpretation of politics as promising “stability at the price of limiting popular involvement in the decision-making process” (106). However, he argues there was a major divergence by the turn of the century between the ways each country viewed its revolution. Americans began to see their story as unique, while the French moved ahead with a conviction in the universal applicability of their revolutionary model. Americans remain, he argues, unsure of how to relate their revolution to others: as a model or an exception (169).

This diagnosis is borne out in the historiography. While Ziesche engages in some degree of comparative analysis, the relationship between the French and American Revolutions remains a largely untapped field, in need of serious scholarly consideration. The comparative framework, however, is by no means entirely new. At the height of the Cold War, Robert R. Palmer presented a two-volume interpretation of what he called the “Age of Democratic Revolution,” linking American independence to the French Revolution and a host of others in Western Europe. Identifying a common set of struggles against entrenched elites, Palmer made the case that the last four decades of the eighteenth century witnessed a “single revolutionary movement” across what he identified as “Atlantic civilization.” This movement was essentially democratic in that there was a rising sentiment against rigid social hierarchy in favor of equality and the limited delegation of governmental authority. In 1965, French historian Jacques Godechot also argued that there was one “age of Atlantic Revolution,” based on the conviction that the causes and objectives of each national movement were fundamentally the same. At the height of the Cold War and amid efforts to construct a common Western identity, the conception of a singular, unified “age of revolution” was undoubtedly alluring.

Since then, however, historians have tended to emphasize national particularity and caution against placing too much stock in comparison, much less commonality. As history continues a disciplinary turn away from the social sciences, where it had been firmly nestled in the era of Palmer and Godechot, comparative analysis seems to pose the threat of flattening context and contingency by encouraging the identification of patterns across time and space. Perhaps because of this, historians of the American founding largely continue to ignore this approach. Since Palmer’s mid-century analysis, and Patrice Higonnet’s 1988 Sister Republics, few projects have put the revolutions in conversation. Some historians of France have recently fruitfully integrated comparative analysis into their work, using the counter-example of the American Revolution to help explain, for example, why the French descended into the period known as the Terror. There has also been a proliferation of volumes riding a wave of Atlantic histories and embracing the now ubiquitous global history trend. The bulk of these books contain essays each dedicated to one revolution, with an introduction and conclusion hinting at the possibility of deeper comparative and transnational analysis. One notable exception to this, which suggests the possibility for reviving comparative historical analysis, is the recently released volume Scripting Revolution: A historical approach to the comparative study of revolutions (2015), edited by Keith Michael Baker and Dan Edelstein. Still, aside from the genre of Lafayette biography, Susan Dunn’s Sister Revolutions: French Lightning, American Light (1999) is the only recent monograph-length study to treat the French and American Revolutions together, and her analysis is not too difficult to guess from the title.

But comparative studies of the French and American Revolutions need not merely reinforce an American success story nearly as old as the United States itself. Part of what makes the political history of the American revolutionary period exciting are the evolving meanings attached to the ideas and values espoused by revolutionaries. The development of these ideas in different contexts opened possibilities for reimagining not only politics, but also social, economic, and cultural paradigms. Contrary to its reputation, comparison can throw contingency into sharp relief and help illuminate the context contributing to the formation of ideas and sociopolitical structures. Focused comparative histories could break open the field of early American political history, allowing for new chronologies and interpretations of the relationship between political thinking and experience.

As Furstenberg, Cotlar, and Ziesche’s studies show, if American political thinking and practice are considered alongside developments in France, the very chronology of the revolution comes into question. And if the revolution does not end in 1783, or even 1787, its political history can look quite different. Looking at the exchange of ideas and experiences among French and American figures helps illuminate this potential; comparison should be adopted as a tool to better understand both similar and unique evolutions of political thinking and culture in both national contexts. Both of these revolutions fundamentally redefined the foundations of political legitimacy, basing the validity of government on its accountability to the population over which it ruled. Though Palmer and Godechot wrote in the context of the Cold War struggle, their observation that the late eighteenth century witnessed the emergence of representative democracy as a new idea should not be dismissed. Examining the evolution of these political maxims and institutions through a comparative lens could illuminate the nature of political principles that have come to serve as foundations of modern Western societies.

The birth of a nation is not only or always a national story. Perhaps because the founding is an ongoing component in the formation of national community it tends to be told as one. But it is time to start thinking about the American Revolution outside the thirteen colonies, the English-speaking Atlantic, or even continental North America. Exploring intellectual, political, and cultural connections and comparisons with the French Revolution has the potential to offer a fresh perspective on the causes, course, and outcomes of the creation of the American republic.

 

This article originally appeared in issue 16.3 (Summer, 2016).


Katlyn Carter is a doctoral candidate at Princeton University and she will be a pre-doctoral fellow at the American Philosophical Society for the 2016-2017 academic year. Her research focuses on political culture in the eighteenth-century Atlantic World. She is currently writing a dissertation that explores how debates about state secrecy during the Age of Revolutions shaped both the conceptual evolution and practical implementation of representative democracy. You can reach her at kmcarter@princeton.edu.

 

 

 




Go on—Have a Good Cry

Sympathetic Puritans is a refreshingly ambitious book. Van Engen writes in lucid prose what might best be described as a corrective prequel to the foundational work of Ann Douglas, whose Feminization of American Culture remains essential reading for students of nineteenth-century literature and culture. Although Van Engen grounds his social history of Calvinist theology firmly in the soil of seventeenth-century Massachusetts, his discussion of sympathy and sentiment often veers further afield; he seems equally comfortable reading the Amicitia of Desiderius Erasmus, the Narrative of Mary Rowlandson, and The Scarlet Letter of Nathaniel Hawthorne. A wide-ranging and polished study of colonial life and letters, Sympathetic Puritans sheds new light on the all too human motives of men and women alternately revered and demonized in popular history.

 

Abram C. Van Engen. Sympathetic Puritans: Calvinist Fellow Feeling in Early New England. Oxford University Press, 2014. 328 pp., $74.
Abram C. Van Engen, Sympathetic Puritans: Calvinist Fellow Feeling in Early New England. New York: Oxford University Press, 2014. 328 pp., $74.

John Winthrop’s call for the inhabitants of Puritan Boston to be more charitable, becoming as a “Citty vpon a Hill,” continues to shape the rhetoric of American politics, but his banishment of Anne Hutchinson has also led some to brand him the intolerant leader of an oppressive patriarchal government. Notwithstanding this apparently unfeeling treatment of Hutchinson, Van Engen insists that Winthrop’s emphasis on mutual affections was sincere, because “being intolerant is not necessarily the same as lacking sympathy. In fact, valuing sympathy and valuing tolerance might bear little relation to one another—a point worth emphasizing since a good deal of modern pluralism seems to conflate them” (23). The sympathy and Christian charity extolled by Winthrop was grounded in the ancient principle “like rejoices in like” (simile gaudet simili), and so the key question for members of Massachusetts Bay congregations was, “With whom do I fellow feel?” or “With whom do I sympathize?” Love for Jesus Christ and for the godly members of his visible church might have provided colonists with a comforting assurance of their own spiritual rectitude; on the other hand, sympathy for a heretic like Hutchinson or for the “merciless Heathen” of Rowlandson’s Narrative might have suggested that an individual is unrepentant and flirting with damnation. The Calvinist fellow feeling of Puritan Massachusetts was a double-edged sword that encouraged—but also circumscribed—compassion.

The meaning of a sympathetic identification with other church members, Van Engen argues, was at the heart of the antinomian or free grace controversy. Winthrop and Thomas Shepard characterized a love of the brethren as a sign of conversion, while John Cotton, Henry Vane, and Hutchinson contended that only a personal experience of Christ’s grace could assure one of salvation. “In other words,” Van Engen writes, the dispute “was not, as many scholars have asserted, a battle between the moral and the spiritual, between disciplined obedience and religious experience. Instead, the Antinomian Controversy divided Puritans over the meaning and value of sympathy itself” (59-60). Because Winthrop and Shepard prevailed in this theological power struggle, the Calvinists of Massachusetts Bay increasingly prioritized sympathy, and its signs, as a leading indicator of the colony’s collective standing before God.

Puritan colonists and Native peoples seeking to join their congregations both demonstrated and elicited appropriate forms of sympathy through the performance of affection. The sincere conversion of Praying Indians taught by John Eliot was manifest in tears shed privately; thus, as Van Engen explains,

Eliot’s brother informed John Wilson that “he had purposefully sometimes in the darke walked the Round, as it were alone, and found [Indians] in their severall Families as devout in prayer, etc. as if there had been any present to observe.” Such modes of surveillance validated public expressions of affection by tracking them back to private lives (156).

Just as Algonquin converts wept to demonstrate the sincerity of their sympathy with Puritan colonists, so too the colonists wept to demonstrate their participation in a transatlantic communion of the saints. In a 1640 sermon titled New Englands Teares, for Old Englands Feares, Taunton minister William Hooke pled with his congregants to identify with and weep for the afflictions of Puritans suffering in the English Civil War. Lachrymose cheeks were important signs of Puritan piety and ecclesiastical solidarity.

Of course, as Van Engen notes, tears also signified true religion in the sentimental novels of nineteenth-century American literature, and he repeatedly draws connections between the seventeenth and nineteenth centuries to suggest that the distance between Calvinism and sentimentalism is narrower than Douglas would have us believe. For instance, in his discussion of Hooke, Van Engen writes that the minister’s plea “does not seem all that different from the rhetorical use of sympathy in later American sentimental fiction. As Glenn Hendler explains, the nineteenth-century reader was called not just to feel like certain characters, but to feel with them” (127). Van Engen is right to draw these connections between the fellow feeling cultivated in both Calvinist sermons and sentimental novels. Sympathetic Puritans “helps us reimagine seventeenth-century New England,” and after reading Van Engen’s iconoclastic work, it is difficult to remember why New England Calvinists are so often caricatured as cold and unfeeling (221). Turning that entrenched stereotype on its head may, in the end, be Van Engen’s greatest accomplishment.

The parallels between Puritan letters and sentimental literature are clearly delineated, compelling, and provocative, but the nature of the relationship between these two literary movements remains frustratingly vague. Van Engen’s language is that of anticipation: “Long before sentimental literature, [Edward] Johnson’s departure scene exemplifies what Marianne Noble calls ‘the classic paradox of sentimentalism’” (140); “The process of stirring up sympathy, moreover, could lead Puritans to literary strategies that look in many ways like precursors of sentimentalism” (143); and “Part of what [Rowlandson’s narrative] anticipated, I argue, was sentimental literature” (176). The closest he comes to asserting a direct, causal relation between Calvinist theology and sentimental literature is a reminder that Puritans “used literary forms that would later be found at the heart of sentimental novels. Any one of these techniques by itself would suggest little, but taken together they reveal how Calvinist notions of sympathy—and its rhetorical and theological consequences—could lay groundwork for sentimental techniques” (169). What is missing from Sympathetic Puritans is an elaboration on that word could, a sense of precisely how to move from Van Engen’s foundational work on seventeenth-century Calvinism to a nineteenth-century sentimental superstructure.

Van Engen’s work is groundbreaking, a must-read for scholars of New England Puritanism and sentimental novels alike. But it also cautiously skirts ground yet unbroken, particularly in the eighteenth century and the pivotal transition from literary forms anticipating sentimentalism to sentimentalism itself. At the end of Sympathetic Puritans, I found myself wanting to ask Van Engen what he made of Jonathan Edwards on Religious Affections (1754) and the transatlantic sympathies stirred by the Great Awakening, whether he saw traces of a specifically Calvinist sympathy in Susanna Rowson’s Charlotte Temple (1791) or in the responses of Rowson’s North American readers. But that, I suppose, is the highest compliment to be paid any book—that it leaves you eager for a sequel.

 

This article originally appeared in issue 16.3 (Summer, 2016).


Zach Hutchins is assistant professor of English at Colorado State University and the author of Inventing Eden: Primitivism, Millennialism, and the Making of New England (2014). He is also the editor of Community without Consent: New Perspectives on the Stamp Act (2016) and Transcribing Early American Manuscript Sermons, a searchable database of transcribed manuscript sermons.




My Father in the New World

Those Americans will, I am afraid, still fleece you. —John Keats in a letter to his brother George living in Louisville, Kentucky, 1819

Those Americans will, I am afraid, still fleece you,
a covered bridge for sale, a little three-card monte.
A can-do folk, those Americans will please you

till you’re back around your fire and all the increase you
had counted on (a penny saved) amounts to…
(check your wallet…). One flees, you

think, to a farther shore. The breeze you
dreamed of tumbles from its purple mountain.
But disembark and there’s no one to police you

but yourself, the prairies you
gaze on wider than the ocean. Their shaggy monsters
turn their swollen heads away; the fleas you

thought too small to bite you bite you. Grease your
squeaky wheel moaning to
your shoulder, the grindstone polishing your

nose. Their music almost overwhelmed the pleas you
muttered once. Your letters: With felicity, yours—
Pay your money to
the boatman. An expert, soon his pole will ease you.


Statement of Poetic Research

John Keats’s admonition to his brother George in an 1819 letter seems warranted: “Those Americans will, I am afraid, still fleece you.” He continued, “I cannot help thinking Mr Audubon has deceived you.” He meant John James Audubon, the great American naturalist and painter of birds. George Keats and Mr. Audubon were to buy a steamboat together, but George, ignorant of Audubon’s insolvency, lost his investment. As Nicholas Roe notes in his fine biography, John Keats, “Audubon was already being pursued by five creditors….” George would lose money in another steamboat debacle a few years later.

George had sailed from London to Philadelphia with his wife, Georgiana, in July 1818, settling finally in Louisville, Kentucky. The Keatses moved up in Louisville society via much hard work, not all of it their own. Adopting, too well, the customs of the American South, George paid for slave labor in his sawmill and later purchased three slaves. Older brother John—whose sonnet “To Kusciusko” praised the Polish revolutionary and was published in the abolition-supporting The Examiner—would have, had he lived, denounced the cruel expediencies of his much-loved brother. But George had come, after all, to America, where Manifest Destiny would soon become a national autoimmune disease, and whose citizens, said de Tocqueville, would ask only, “how much money will it bring in?”

 

Slave ownership aside, George has not always fared well in various Keats biographies. Returning briefly to England in 1820 to buttress his failing finances, George sailed back, with John’s consent, to America a few weeks later with over four-fifths of the siblings’ small, entangled, and dwindling inheritance. “That was not fair—was it?” John complained to his friend Charles Brown. John’s fiancée, Fanny Brawne, though mindful of George’s money problems, later called George’s pie slicing “extravagant and selfish.”

While in London, George attended the theater, dinners, and a party but, according to W. Jackson Bate’s magisterial biography, John Keats, he “did not even have time to see his sister Fanny…but wrote her a pleasant though hurried note from Liverpool.” (Denise Gigante in The Keats Brothers states that George did see 17-year-old Fanny once, but that Fanny came to George.) Brother and sister corresponded through the years but did not see each other again.

 

John Keats never married Fanny Brawne, partly from lack of funds but mostly due to his failing health. The youngest Keats brother, 19-year-old Tom, had died of consumption in December 1818 and John, despite his apothecary surgeon’s license and bedside attendance, could not help him. Nine years before that, the 14-year-old John had tried to nurse their mother dying from the same disease. By 1820, John, too, was infected. Retreating to warmer Rome, he died in 1821 at the age of 25; Fanny Brawne’s unopened letters were laid with him in his grave. “[To] see her handwriting would break my heart…to see her name written would be more than I could bear.”

George, a month or so later, anticipating the worst, received the news in Louisville where his prospects via George Keats & Company would improve for some years as the country recovered from the 1819 panic.

John’s warning about those wily Americans was the springboard for my poem, “My Father in the New World.” It speaks of John’s concern for his brother, but also speaks presciently of George’s adopted home where hunger for gold would give rise to Goldman Sachs, where one could raid an Indian village or, some day, a pension fund. In a caveat emptor empire, opportunity knocks or knocks you out. My poem reflects how it knocked out my father, who couldn’t much tell a jab from a feint. My father was the Cleveland-born son of newly emigrated Russian Jews, and had, I suspect, absorbed from his parents the unease of the outsider. Over time, he was a realtor, an insurance salesman, the purveyor of dime-store knick-knacks, and an ad hoc cab driver. He learned to speak a pidgin Business (the lingua franca of his parents’ new home) but spoke it always with the hint of an accent and the forced bonhomie of one who masks (even from himself) a longing for the Old Country, which, for my dad, did not exist.

 

“My Father in the New World” is a villanelle (for celebrated examples, see Dylan Thomas’s “Do Not Go Gentle Into that Good Night,” and Elizabeth Bishop’s “One Art”). I’ve always found the form not only haunting but indicting. That is, each time the rhyming repeated lines (lines 1 and 3 of the first stanza) come round again in subsequent stanzas, they carry greater weight, and what might be an off-hand observation at the beginning of the poem becomes an undeniable and perhaps terrifying truth by the villanelle’s end. I’ve played with the form slightly in the last stanza here, and, likewise, instead of the designated rhyme words’ prescribed repetitions in the subsequent lines, I have replaced them (for the fun of playing with the tradition) with homonyms. Thus, instead of the first stanza’s respective fleece you and please you, I’ve altered them each time so that we get flees you/ fleas you/ felicity, yours; alternating with police you/ polishing your/ pleas you/ pole will ease you. I’ve loaded “My Father in the New World” with American clichés about diligence and industry, but end it with a reference to Charon, via the flatboat pilot who would eventually ferry all the Keatses, Fanny Brawne, Charles Brown, Audubon, my father, and, sooner or later, reader and writer, across his wide river.

Research has included two visits to Wentworth Place in Hampstead (now a London suburb) where John Keats lived for nearly two years with his friend Brown. For a while, the Brawne family shared the residence with the two young men, living in the house’s larger, partitioned-off section. I visited, too, the beautiful Keats-Shelley House where Keats died in Rome. The museum hosts paintings and memorabilia of Keats and his immediate circle, but also of Shelley, Byron, others, and of Victorians who revered Keats. I looked up at the tall, square-patterned, flower-carved ceiling that Keats stared at for much of his three months there. Immediately outside one bedroom window is the famous Spanish Steps. From the other window of the narrow six-by-fifteen-foot room overlooking the broad Piazza di Spagna, Keats dumped the awful food prepared for him and his companion, Joseph Severn, in protest. The meals, cooked in the landlady’s trattoria downstairs, improved thereafter.

The artist Joseph Severn had accompanied Keats to Rome from London, valiantly attending to Keats until the poet’s death on February 23. Severn himself spent many years in Rome and died there in 1879. He is buried next to his friend at the very lower left of the Protestant (i.e., non-Catholic) cemetery laid out behind the Roman Pyramid of Cestius. Shelley’s grave is close by, upward to the right.

Fiancée Fanny Lindon, née Brawne, (whose father and brother both died of consumption) passed away in 1865. Sister Fanny Llanos, née Keats, died in Madrid in 1889. Her future husband, Valentin Llanos, coincidentally met John in Rome three days before John died. George, ruined by the 1837 Panic, died in 1841 on Christmas Eve in his Louisville mansion, “the Englishman’s palace.”

Further Reading

I have relied here mostly on modern biographies of John Keats, starting with W. Jackson Bates’s Pulitzer Prize-winning John Keats (1963), John Keats by Andrew Motion (1998), Stanley Plumley’s deeply felt meditation on Keats, Posthumous Keats, Nicholas Roe’s meticulous John Keats (2012), and Denise Gigante’s The Keats Brothers: The Life of John and George. I have not yet read, but would be remiss if I did not mention, George Keats of Kentucky: A Life, by Lawrence M. Crutcher (2012).

The earliest Keats biography was The Life of John Keats: A memoir by Charles Armitage Brown. Brown worked on it intermittently and sadly from 1829 until 1841. He never published it, but sent it to Richard Monckton Milnes who incorporated much of the material into his 1848 Life, Letters, And Literary Remains of John Keats, digitally available in a PDF format. Other earlier biographies include Sir Sidney Colvin’s 1917 John Keats—His Life and Poetry, His Friends, Critics and After-Fame, (digitally available here), and Amy Lowell’s two-volume John Keats (1925).

The following sites are also helpful. The invaluable Harvard Keats Collection contains what for me is the treasure of a Severn sketch of a stark, dying John. This drawing, unlike Severn’s famous Keats deathbed drawing (“28 Janry 3 o’clock mng. Drawn to keep me awake – a deadly sweat was on him all this night,”), is not in any of the Keats books or sites that I know of. As a bonus, the Harvard drawing contains, too, apparently, a list in Severn’s hand of the books he and Keats were respectively reading or seeking. Other helpful sites are Keats House, Hampstead; Keats-Shelley House, Rome; and English History—Keats.

 

This article originally appeared in issue 16.3 (Summer, 2016).


Steve Kronen’s poetry collections are Splendor (2006), and Empirical Evidence (1992). His work has appeared in The New Republic, The American Scholar, Poetry, Agni, The American Poetry Review, Little Star, The Georgia Review, Ploughshares, Slate, and The Yale Review. He has received an NEA, three Florida Individual Artist fellowships, the Cecil Hemley Memorial Award from the Poetry Society of America, the James Boatwright Prize from Shenandoah, and fellowships from Bread Loaf, and the Sewanee Writers’ Conferences. He is a librarian in Miami, Florida, where he lives with his wife, novelist Ivonne Lamazares, and their daughter, Sophie.

 

 

 

 

 




Django Unchained: A Review

If the horrors of slavery were reducible to those tropes codified by the stewards of modern American abolitionism, the quest to secure the safety of Broomhilda (Kerry Washington) in Quentin Tarantino’s epic antebellum revenge fantasy, Django Unchained, arguably demonstrates one of the most salient features of antislavery historiography. Besides the film’s opening coffle gang sequence, viewers are afforded fairly suggestive representations of a slavocracy mired in mass societal immorality. A quick scan of the vice and cruelty graphically portrayed in the American Antislavery Society’s 1840 illustration “Our Peculiar Domestic Institutions” all but parallels the lurid violence that veteran bounty hunter Dr. King Schultz (Christoph Waltz) and nominally free Django (Jamie Foxx) encounter on the road to the plantation estate of Mandingo fighting enthusiast Calvin Candie (Leonard DiCaprio), the last known master of Broomhilda.

 But the panoramic cultural imaginary that is revealed through Django’s  exceptional tale as “one nigger in ten thousand” does more than demonstrate the corrupting influences of antebellum slavery. As Django’s roaming apprenticeship across the Southwest exposes viewers to the institution’s sordid profligacy, the development of his aptitude as a hired marksman clarifies the heroic individualism that is typical of male-authored canonical slave narratives. By this I mean to say that Tarantino’s variation on the genre of fugitive slave autobiography allows us to see anew the self-serving rhetorical properties of ex-slave narrators, and challenges us to reconsider those contemporary moralizing frameworks that influence our view of the black antebellum past. Unlike the conventional slave narrative, in which the autobiographical subject’s investment in reaching the “free” North is bound up with the author’s presentation of a dynamically unfettered sense of selfhood, Tarantino’s decision to have Django forego this vertical journey and travel deeper into the heart of the South realizes an alternative means of understanding the constructedness of the fugitive slave as hero. Beginning with the outlaw Brittle Brothers, whom Django can identify for Schultz and whom he takes part in killing, it’s impossible not to read the ex-slave’s subsequent trail of cathartic violence as a serial reenactment of Frederick Douglass’s manhandling of the slavebreaker Covey in his Narrative of the Life of Frederick Douglass (1845).

13.4.5. Clytus. 1

 

In the scant dialogue that Django shares with his fellow slaves, scarcely a comment rises above the level of derision. As a dandified gunslinger, his total indifference to their plight is only matched by his preternatural grit and independent mien. While some reviewers decry this construction of the freed slave as an individualistic hero as perversely revisionist, such criticism is at odds with the social politics that govern most conventional slave narratives. Although ex-slave autobiographers such as Frederick Douglass and William Wells Brown took great efforts to incorporate the communal life of slaves into their autobiographies, the mandates of professional abolitionism also required that they pattern their slave experiences after motifs of enlightenment and exception. That is, in order to represent themselves as self-made men within the antebellum context of republican oratory and life writing, their stories of personal triumph necessitated accounts of singularity. With this in mind, even if Django’s quest constitutes a geographical inversion of the slave autobiography’s narrative of ascent, it is the personalization of Django’s slave experience as distinct from all others—particularly his unique knowledge of the Brittle Brothers and his extraordinary skill with a gun—that brings about his liberation at the hands of Schultz.

How Tarantino contextualizes Django’s reluctance to engage his fellow slaves is perhaps where the filmmaker makes his most important intervention into antislavery historiography. Given the absolute treachery of Stephen (Samuel L. Jackson), Candie’s loyal house slave and plantation manager, Django’s reticence is most likely attributable to his fear that duplicitous slaves will betray his heroic objectives. This very concern for deceit figures in most slave narratives and antislavery fiction, but is often abbreviated so as to not undermine abolitionism’s pedagogy of empathy. We especially see this in Frederick Douglass’s novella “The Heroic Slave,” wherein the intrepid Madison Washington provides a brief commentary on slave disloyalty. After Washington’s initial escape results in his having to return to his master’s plantation “hungry, tired, lame, and bewildered,” Douglass allows him a few pithy lines that elevate his heroic fugitive status at the expense of his degraded counterparts: “Peeping through the rents of the quarters, I saw my fellow-slaves seated by a warm fire, merrily passing away the time, as though their hearts knew no sorrow. Although I envied their seeming contentment, all wretched as I was, I despised the cowardly acquiescence in their own degradation which it implied, and felt a kind of pride and glory in my own desperate lot. I dared not enter the quarters,—for where there is seeming contentment with slavery, there is certain treachery to freedom.” If the contradistinction posed by Washington serves as a proxy for Douglass’s thoughts on racial treason, a character as well developed as Stephen breathes much needed life into the un-heroic slave, one of the least theorized subjects of antebellum slave culture. From behind Stephen’s mask of obsequious dissimulation, Tarantino reveals a check writing, thoroughly literate administrator, who ultimately outsmarts the calculating Django and Schultz. In other words, Stephen’s compromised autonomy not only rivals the exceptional nature of Django’s willfulness but it also posits his position on the plantation as an alternative site of productive agency. While this ambivalent figure is often rendered mute in antislavery literature as a result of narrative gloss and exaggerated caricature, the un-ironic representation of Stephen’s custodial power encourages more serious scholarly reflection on the topic of master-slave collusion. Is it possible, for instance, to develop an ethical account of co-option that allows for the moral ambiguities cultivated under slavery? Besides facilitating the rhetorical agendas of their authors, what, we might ask, can these unsympathetic collaborators reveal about the absoluteness of slave power?

According to historian Jelani Cobb, Tarantino’s use of Stephen “as a comic foil seems essentially disrespectful to the history of slavery,” since “[o]ppression, almost by definition, is a set of circumstances that bring out the worst in most people.” What’s troubling about this logic is that on the one hand it insists on moralizing the peculiar institution’s punitive features in order to demonize the system of slavery, while on the other it remains seemingly ambivalent about qualifying the complex experiences of those millions who remained in chattel bondage. But there can be no actual history of slavery, to paraphrase William Wells Brown, let alone a respectful one, in the face of such radical inhumanity. What is more, when we take into account Hortense Spillers’s argument that slavery functions “primarily” as a “discursive” system, which “every generation of systematic readers is compelled […] to reinvent,” questions of historical appropriateness become querulous at best. What matters most in Django, then, is not the accuracy of the film’s historical claims but how Tarantino’s awareness of his contemporary audience mediates his symbolic enterprise. Ironically, this issue of creative exigency is nowhere more evident than in the narratives of those ex-slaves who found it necessary to rewrite their autobiographical experiences as a means to address their ever-evolving political circumstances. Indeed, if Stephen’s presence is “disrespectful to the history of slavery,” one has to wonder what scholars such as Cobb would make of William Wells Brown’s comedic use of Cato in My Southern Home: or, The South and Its People (1880), or the litany of literary descendants who trouble the collective ethos of black bourgeois norms. Consider, for example, the intraracial bigotry of Ralph Ellison’s Dr. Bledsoe from Invisible Man(1952), the pornographic exploits of the fugitive slave Leechfield in Ishmael Reed’s Flight to Canada (1976), or the darkly humorous protocols aboard the Celebrity Slaveship courtesy of George C. Wolfe’s The Colored Museum(1988).

Although the overwhelmingly positive reviews of Django give the appearance of Tarantino having successfully negotiated the ongoing controversy that is American slavery, the auteur’s final decision to excise archetypal scenes of violence from Django so as to avoid traumatizing his audience and enable the film’s cathartic denouement should give cultural historians some pause. The removal of the spaghetti western flashback in the film’s opening sequence, which includes Django’s confinement to the slave pen, the auctioning of fellow slaves, and the eventual rape of Broomhilda elides the very substantive acts of violence that antebellum antislavery writers could only address via quill and paper. Is it possible then that we are further now than our abolitionist forebears were from achieving some meaningful interaction with the traumatic history of slavery? Perhaps. But if we believe as Friedrich Nietzsche asserts in his second Untimely Meditationthat “only if history can endure to be transformed into a work of art will it perhaps be able to preserve instincts or even evoke them,” we are all the better for Tarantino’s irreverent attempt to disturb our collective memory.

 


 



Gaming the Revolution: A Review of Assassin’s Creed 3

Is Desmond Miles the new Felicity? Common-Place readers who teach early American literature or history have likely encountered students whose understanding of the Revolutionary era is filtered through the experience of growing up with Felicity Merriman, a girl living in Williamsburg who thinks the colonies should be free. Felicity is an American Girl doll, while Desmond Miles is a character in the Assassin’s Creed video game franchise, but both are enormously popular. The current installment of the series, Assassin’s Creed 3, is set in the years leading up to the American Revolution, and game publisher Ubisoft reports that it has shipped more than 12.5 million units since October 2012. This is a number that is hard for even the most popular academic author to fathom. In the years to come, this game will inform what many people think about the revolutionary era, including future students and scholars of this period. Understanding what Assassin’s Creed is and does is important to our understanding of early America. To that end, Jan Rune Holmevik, a digital media scholar, and Jonathan Beecher Field, an early Americanist, teamed up to have a look at this newest entry. We are novices in each other’s fields, but the video game scholar was troubled by missed opportunities on the historical side, while the scholar of colonial New England would have liked more nuance in the mechanics of the gaming.

With the release of the original Assassin’s Creed in 2007, Ubisoft launched one of the most celebrated and successful video game franchises in recent years. The game is set in 2012 and features a player-controlled main character named Desmond Miles. Desmond is a descendant of the Assassin’s Order who, after being kidnapped by the Templar-controlled Abstergo Industries, soon finds himself strapped in a time machine, which enables him to experience the memories of his ancestors. This machine, known as the Animus, is the central game mechanic that allows players to explore historic places in search of several mysterious artifacts known as the Pieces of Eden. Whoever possesses these artifacts holds the power to control mankind’s destiny after the cataclysm predicted to occur on 12.21.12.

13.4.5. Field and Holmevik. 1

Earlier installments of the game took place during the Crusades and the Renaissance, while Assassin’s Creed 3 is set in colonial North America during the months leading up to the American Revolution. Here players are introduced to Desmond’s third ancestor, Ratonhnhaké:ton, a.k.a. Connor, who is the protagonist during the Colonial campaign. Ratonhnhaké:ton/Connor is the son of a British father, Haytham Kenway, and a Mohawk mother, Kaniehtí:io. Kenway works loosely with British officers, but his actions are motivated by his allegiance to the Templars, rather than by the real-life politics in the North American colonies. Ratonhnhaké:ton is raised among the Mohawk; when his mother is killed in a raid on their village, led by the British General Charles Lee, he vows to avenge her death.

Unfortunately, as the protagonist in Assassin’s Creed 3, Ratonhnhaké:ton/Connor is less interesting than those featured in other installments of the game. He comes across as a rather flat and stereotypical video game character whose only interesting personal side comes out in the antagonistic relationship he has with his British father. For gamers who have been following the Assassin’s Creed franchise from the beginning, the major surprise in this edition is that Kenway turns out to be a member of the dreaded Templar order, the sworn enemies of the Assassins. Furthermore, Kenway is the character the player controls for the first part of the game. In the previous iterations of the Assassin’s Creed game, the player controlled one or another of Desmond’s Assassin ancestors, so this revelation of his Templar genealogy comes as a shock. Other elements of Ratonhnhaké:ton/Connor’s character are less compelling. For example, Connor’s motive for joining the Revolutionary struggle is to avenge the death of his mother, which rather oversimplifies the complex political motivations for the roles Native Americans chose to play in the American Revolution. On the other hand, Benjamin Martin, Mel Gibson’s character inThe Patriot, arguably the last mass cultural representation of the American Revolution of a similar scale, also joins the cause to avenge the death of a family member (his son).

Assassin’s Creed 3 presents players with a large number of both historic and fictional non-player characters, but unfortunately the majority of these come across as little more than plot elements. How interesting would it have been to have a political conversation with George Washington, or sit down to dinner with Paul Revere and his family before accompanying him on that famous midnight ride to alert the militia of the approach of the British forces? In the same vein, when the players first land in Boston and finally get off the ship from England, they soon run into a portly, bespectacled man who introduces himself as Benjamin Franklin. Again, players are in for a letdown when it turns out that he only wants us to go collect his missing almanac pages. Here, the ambitions of the Assassin’s Creed franchise bump up against the limitations of what is possible in a video game. Chasing missing almanac pages as they fly around a Boston cityscape involves running and jumping and climbing—things it is easy to make a video game character do. More verbal or cerebral aspects of life in America in the eighteenth century are harder to evoke. It is difficult to imagine, for instance, a side mission where the player uses the controller to help Franklin write his Autobiography, or help set type for a letter from Silence Dogood. Ubisoft is perhaps more ambitious in presenting Native American characters. The game designers worked with Mohawk language specialists to develop the Kanien’kehá:ka language that some characters in the game speak. Again, however, the challenge of integrating language into an action video game is a barrier. The cut scenes have subtitles; otherwise, the dialogue in Kanien’kehá:ka is immaterial to the progress of the actual game.

Assassin’s Creed 3, like its predecessors, aims to be an open world sandbox game (a genre made popular by the acclaimed Grand Theft Auto series), where players roam freely and do quests at their own pace and in any order that they want. Much of the excitement over the original Assassin’s Creed games came from the promise of being able to explore exotic historic locales complete with faithfully recreated architecture and geographical features. In Assassin’s Creed 3, the main sandbox is called the Frontier, a large wilderness area covering much of New England, which constitutes the majority of the game’s playable space. Players can also explore the urban areas of Boston and New York, which are the two main cities in the game. Furthermore, players will come across a number of smaller authentic period towns, trading posts, and Indian settlements scattered throughout the world. Portions of the Eastern Seaboard and the Caribbean are also available through optional naval missions.

While the previous games in the series took players to visually stunning environments with intricate and ornate architectural features such as medieval Jerusalem, Renaissance Italy, or Constantinople, the “New World” in Assassin’s Creed 3 seems dull and drab by comparison. The cities and towns all look somewhat generic, and you get the impression that the houses and buildings were designed with the same limited number of textures. There is nothing that strikes a player as jarringly inaccurate in these cityscapes, but compared to Jerusalem or Florence, the designers of Assassin’s Creed 3 face the same challenges Henry James describes facing Nathaniel Hawthorne. Connor inhabits a world, as James observes, with “no palaces, no castles, nor manors, nor old country houses, nor parsonages, nor thatched cottages nor ivied ruins; no cathedrals, nor abbeys, nor little Norman churches.” Connor climbs a number of church steeples in Boston to get the lay of the land (and create an in-game map), but if you’ve seen one Congregational steeple, you’ve seen most of them. The real beauty in this game, though, is found in the Frontier, which features vast forests, mountains, rivers, and waterfalls that all change appearance with the passing of the seasons. Too bad, then, that the game doesn’t offer players more interesting incentives to explore and play in it.

Compared with the relative freedom of, say, Grand Theft Auto: Vice City, gameplay is somewhat constrained. As in previous titles, Assassin’s Creed 3 consists of one main mission and several optional side missions. The game’s narrative is driven forward through the main mission, which is divided into twelve sequences with three to five missions in each. The entire first sequence, which takes place in England and on the ship to America, is the game’s training session, and takes a good three hours to complete. In this sequence players must follow a strictly scripted series of events that are designed to give them the game’s backstory and to teach them the basic mechanics of the gameplay. Once the player lands in Boston, the game world opens up and the player is free to explore on his or her own. While scripted training sessions are a mainstay in video games, Assassin’s Creed 3 takes it to the extreme by forcing players to sit through three hours of linear play just to begin the real game. It would have been much more interesting to make the training session optional for new players and to let more experienced players get on with the adventure right away. The way this game uses narrative to enforce linear gameplay, however, continues throughout most of the main mission sequences, and this is one of the biggest problems not just with Assassin’s Creed 3 but many of today’s major video game console titles. Nowhere is this problem more evident than in the game’s final showdown with the main villain who burned down Connor’s village and killed his mother. After a particularly annoying chase mission through burning warehouses on the Boston waterfront, you finally find the British general and—it turns out—Templar Grand Master, Charles Lee, wounded and broken in a tavern. In the plot of the game, Lee seeks to usurp George Washington and place the United States under Templar, not British, control. As the story reaches its climax, you are in for one of the biggest letdowns in modern video game history: a QuickTime video event where all you have to do is listen to his story and then press one button.

Moving through this world can be frustrating. Every building can be climbed in a variety of ways that can sometimes pose quite a puzzle, and there is always more than one way to reach one’s objective. Assassin’s Creed 3 follows the same control scheme as previous games in the series, so experienced players should have no problems picking it up. For new players, however, controlling one’s avatar can be a bit tricky to master especially in certain missions, such as timed chases. While the idea is to avoid British soldiers in your path, the biggest obstacles are actually trees, branches, and roots. If you hit a tree, because of the collision detection issues noted above, chances are you have to restart the entire mission to beat the clock so you can move on. Similarly, the mechanics of combat can distract from the narrative of the game. One of the main features of combat in Assassin’s Creed games is the ability to perform stealthy assassinations. It would seem that your main goal might be to silently slip past heavily guarded fortifications to quickly eliminate your target and then vanish into the shadows without a trace. While there are missions where this is a viable tactic, all too often you are forced into hand-to-hand combat situations against overwhelming numbers of foes. Piling on the enemies in a brute-force approach seems to be a cheap solution to maintaining the game’s difficulty level. Another example where the game falls short of player expectations concerning combat sophistication is the way in which the game engine targets enemies based on proximity and the directional positioning of the avatar. You attack the closest enemy in front of you, and when you find yourself surrounded by attackers, which happens regularly, combat frequently devolves to little more than frantic button mashing.

In spite of these limitations, millions of people have purchased Assassin’s Creed 3, and the story this game tells will shape what a generation thinks about this period. In many ways, the broad strokes of the game are more successful than its execution. One of the real strengths of the game is its un-whiggishness. We do not have a narrative of an American hero who fights the British and wins. Instead, Ratonhnhaké:ton/Connor’s Native American identity complicates his relation to the unfolding political events. Much of the action takes place along the margins of the war, and identities and allegiances are quite fluid. The ongoing struggle between Assassins and Templars does not map neatly on to the sides of the Revolution, but instead complicates the network of allegiances of the characters. The game invokes “the frontier” as a location where some of the action takes place, but portrayal of this place owes more to Richard White’s Middle Ground than to Frederick Jackson Turner’s Frontier Thesis.

Colonial Boston, New York, and the land between them may not be as exciting visually as, say, Constantinople, but it’s hard not to be awed by the level of detail in recreating this world. Many players will move on to the next game when they finish Assassin’s Creed and the scenery will just be scenery. However, we have to imagine that the richness of the world that is conjured here will generate further interest in this period in some fraction of the people who play this game. Centipede did not inspire many of its players to become entomologists, but we suspect that a few of the 12.5 million players of Assassin’s Creed will become early Americanists. At the same time, early Americanists curious to see what it is like to navigate a world like Cooper’s The Spy for themselves may follow the narrative to the next installment, which will feature Connor’s grandfather aboard a Caribbean sailing ship. We can hope that the sequel does more to deliver on the potential of this medium to bring the past to life.

 

This article originally appeared in issue 13.4.5 (September, 2013).


Jonathan Beecher Field is an associate professor of English at Clemson University. His current book project is called Antinomian Idol.

Jan Rune Holmevik is associate professor and associate chair of the English Department at Clemson University. His most recent book, Inter/vention: Free Play in the Age of Electracy, was published by the MIT Press in 2012.

 

 




Abe Lincoln: Man! President! Vampire-slayer!

While many films featuring Abraham Lincoln, the sixteenth president of the United States, were made in the early days of American cinema, relatively few movies have been made featuring him since 1940. In part, this has to do with growing resistance on the part of film viewers to watching quasi-educational movies about great white men. In part, it also arises from the difficulties of dealing with Lincoln’s own reputation. Leaders of the civil rights movement of the 1950s and ’60s paid lip service to Lincoln as the man who had emancipated the slaves, but his racial views were at some remove from what today would be regarded as progressive. Steven Spielberg managed to get around this problem in his 2012 biopic by focusing on a very narrow chronological period: the few weeks in early 1865 in which Lincoln battled to get a draft of the Thirteenth Amendment abolishing slavery through the House of Representatives. Other Lincoln films in recent years have dealt with him either by focusing on his assassination and its aftermath (The Conspirator, 2011) or making him essentially a comedy character (in Bill and Ted’s Excellent Adventure, 1989, he helps high-school kids with their history reports, finishing with a parody of his Gettysburg Address). In 2012, Timur Bekmambetov—like Spielberg—brought Lincoln back to the screen as a hero. Unlike Spielberg, he did so in a horror movie: Abraham Lincoln: Vampire Hunter.

 

13. 4.5. Stokes. 1 The film opens with the Lincoln family living in Indiana. When a young friend of Abe’s (Lux Haney-Jardine), a black boy named Will Johnson (Curtis Harris), is seized by slavers, Abe picks up an axe and tries to save him. When Abe himself is threatened with a bull-whip, his father (Joseph Mawle) intervenes, provoking a quarrel with his employer Jack Barts (Marton Csokas), to whom the family owes money. Barts fires the elder Lincoln and demands he pay off the debt immediately. When he refuses, Barts threatens him. The Lincoln family quickly learns what the threat means: Abe’s mother, Nancy Hanks (Robin McLeavy) is bitten by a vampire and dies. Abe is prevented from seeking vengeance by his father but, nine years later, when his father dies, Abe (now played by Benjamin Walker) sets off to kill Barts. He fails, discovers in the process that Barts is a vampire, and is rescued by another vampire, Henry Sturges (Dominic Cooper). Sturges is a “good” vampire who wants vengeance against vampires for murdering his sweetheart. But since vampires can’t kill other vampires, he needs a human agent. Under his tutelage, Lincoln trains as a vampire hunter, choosing an axe (he’s been a rail-splitter, get it?) with a silver edge as his weapon of choice. He is soon living in Springfield, working in the store owned by Joshua Speed (Jimmi Simpson), romancing Mary Todd (Mary Elizabeth Winstead, who bears a strong resemblance to the real Todd), and spending some of his nights bumping off vampires. One of these is Jack Barts. But Lincoln slowly becomes aware (as Sturges has always known) that a titanic struggle is going on in the background between free humans and vampires, who have come to dominate the American South, and thus have also gained control over millions of enslaved African Americans, whose blood keeps their vampire masters alive. Lincoln realizes that the dominance of vampires in the South can best be undermined through politics, and he embarks upon the career that will take him to the presidency.

Following the secession of eleven Southern states to form the Confederacy, the Civil War begins when the Southerners open fire on Fort Sumter. But there are effectively two powers in the South: the Confederate government, headed by Jefferson Davis (John Rothman), and the vampire network, led by Adam (Rufus Sewell) and his sister Vadoma (Erin Wasson). The vampires are supportive of slavery since, as Adam explains, slaves have always been part of civilization. Lincoln is made to suffer personally for his political views: Vadoma infiltrates the White House and kills the Lincolns’ son Willie (Cameron M. Brown). The climax of the Civil War—and the film—come at Gettysburg in July 1863. Initially, the Northern army appears to be winning. But Adam has brokered a deal with Jefferson Davis, president of the Confederacy, so that vampires—who cannot be easily killed—join the ranks of the Confederate army. The Southern troops, with their vampire reinforcements, begin to turn the tide of the battle. Lincoln has realized that only weapons made of silver (fatal to vampires) can win the battle, and that he himself must once again pick up his axe. He orders the confiscation of all silver in the Washington area to be melted down into weapons. Joshua Speed, frustrated with Lincoln’s actions, tells Adam that a northbound train is carrying all of the silver bound for the Union army. This defection is a ruse, however—the train is carrying only rocks. Lincoln kills Adam in a furious battle on the doomed train. In the meantime, former slaves smuggle the weapons via the Underground Railroad to the Northern troops at Gettysburg, who find that all the Confederate soldiers—including vampires—are now vulnerable to their guns and bayonets. When Vadoma arrives in the Northern encampment intent on killing Lincoln’s wife, Mary instead kills her by inserting a silver necklace into the barrel of a rifle before she pulls the trigger. With vampire support gone, the Confederacy is defeated and slavery ended. Lincoln, offered immortality by Sturges (he could become a vampire himself) sets off for Ford’s Theatre and his own brand of historical immortality.

It is never clear what kind of movie Bekmambetov has made, which may explain its relative failure at the box office. It could be a comedy, but there is little real humor. It could be a horror film, though there is comparatively little gore. Abraham Lincoln: Vampire Hunter has some of the essential elements of a historical movie: it features real people and real events, with some of them (the growing controversy over slavery, the Confederate attack on Fort Sumter, and the Emancipation Proclamation) underlined by the use of intertitles. Extracts from Lincoln’s first inaugural address are featured, against the backdrop of a half-finished Capitol building, together with the second half of his Gettysburg Address. Other historical movies incorporating Lincoln are referenced. The battle sequences hark back to D.W. Griffith’s The Birth of a Nation (1915) and Abraham Lincoln (1930). The sequences featuring Lincoln with Mary Todd and an uncredited Stephen A. Douglas are very reminiscent of John Ford’s Young Mr. Lincoln (1939) and, even more obviously, John Cromwell’s Abe Lincoln in Illinois (1940). The shots of Lincoln and Mary Todd at the party in Springfield are particularly close to Cromwell’s film, although Bekmambetov’s Lincoln—echoing his athletic skills as a vampire-killer—is much more adept at dancing. Some of the biographical material in the film is accurate: Lincoln’s mother died in 1818, his son Willie died in the White House less than a year after the start of the Civil War, and there were strong tensions in the marriage of Abraham and Mary Lincoln, explained in the movie by the fact that he had never told her he was a vampire hunter. (In fact, earlier in the film, he had confessed to this, but she thought he was joking.)

Abraham Lincoln: Vampire Hunter shows us a Lincoln who physically (especially once he grows a beard) resembles the martyred president. Yet at the same time it greatly simplifies his views on race, foregrounding his antislavery sentiments but not his often limited views on equal rights. From the beginning of the film (attempting to rescue Will from slavers) he is instinctively opposed to the institution of slavery. During the course of the film, he eventually becomes the “Great Emancipator.” But this antislavery crusade also has a revisionist touch: Will (now Anthony Mackie) has escaped from slavery and become a friend and ally of Lincoln in the White House. He fights alongside Lincoln in the climactic battle against vampires led by Adam on the train to Gettysburg. Moreover, it is African Americans—via the Underground Railroad—who carry the silver weapons to Gettysburg that ensure the Northern victory. In Bekmambetov’s movie, as in history, African Americans fought to win their own freedom. It was not simply conferred upon them. In the struggle against vampires, moreover, women play a part: just as Lincoln (eventually) kills Jack Barts, the vampire who killed his mother, Mary Lincoln kills Vadoma, the vampire who killed her son. The film ends equivocally: Sturges, ageless as a vampire, sits in a bar in today’s Washington, D.C., attempting to recruit a successor to Lincoln as vampire hunter. Vampires apparently still pose a threat to the United States and, like a much darker version of Jefferson Smith in Frank Capra’s Mr. Smith Goes to Washington (1939), someone is needed to pick up the mantle once carried by Lincoln.

 

This article originally appeared in issue 13.4.5 (September, 2013).


 



One Pilgrim’s Progress

Over the course of a life that covered the better part of the eighteenth century, Rhode Island schoolteacher Sarah Osborn sought assurance of her salvation amidst spiritual doubt, unrelenting poverty, proliferating temptation, and, at times, withering criticism. More Christiana than Christian, Osborn was always ready to bring others along with her on the journey to the Heavenly City, ranging from her beloved (and by all signs unconverted) dying son to scores of enslaved and free blacks who gathered at her Newport home for revivalist prayer meetings. In so doing, Osborn did more than attempt to secure her own salvation; she helped give birth to evangelicalism, the eighteenth century’s most important religious movement.

13.4. Roberts. 1
Catherine A. Brekus, Sarah Osborn’s World: The Rise of Evangelical Christianity in Early America. New Haven and London: Yale University Press, 2013. 448 pp., $35.

Day in and day out, Osborn wrote compulsively about her faith and her experience. Only a fraction of the fifty diaries and hundreds of letters that she composed during her lifetime survive, but those that do more than amply provide the primary materials for University of Chicago historian Catherine Brekus’s Sarah Osborn’s World, a rich exploration of Osborn’s life and the first published full-length treatment of this important and overlooked spiritual figure. The result is, alongside Jon Sensbach’s biography of Rebecca Protten, the best and most comprehensive study we have yet of a female first-generation Atlantic World evangelical. But this book is more than that. Sarah Osborn’s World is a skillful meditation on the ways in which eighteenth-century evangelicalism combined with contemporary intellectual, political, economic, and social currents to help create the modern world.

Sarah Osborn’s World builds upon, and refines, Brekus’s important 2007 essay, “Sarah Osborn’s Enlightenment” in Brekus, ed. Reimaging the Past: The Religious History of American Women. There, Brekus asked whether evangelicals embraced the Enlightenment and if women, in particular, played a role in constructing Enlightenment ideas. Following David Bebbington’s lead, she examined how evangelicalism might be understood as an “enlightened” version of Protestantism. Osborn’s embrace of a language of assurance, certainty, experience, and proof undoubtedly bore testimony to this influence. Yet even more striking was Osborn’s compulsive journaling—evidence, Brekus argues, of her acceptance of the Enlightenment’s emphasis on experiential knowledge. Writing became a compulsion and an obsession for Osborn, a means of helping “her make sense of changes in everyday life that did not yet have a name” (7). Not only did Osborn devotedly document her experience, she also frequently went back and scrutinized her writings for signs of God’s favor. In moving from Osborn’s “Enlightenment” to her World, Brekus expands her study into the various ways evangelicals absorbed and incorporated new ideas about progress, humanitarianism, and individualism into older Protestant understandings of self, community, and world. Always, as Brekus is quick to note, these borrowings bore their own distinctive stamp.

Osborn’s 1743 spiritual memoir, written at the height of the Great Awakening, structures the first part of the book. Brekus uses the memoir to unpack Osborn’s life as it had been, but also to examine how she wanted it to be. When writing her narrative, Osborn quickly dispensed with her childhood, a period she associated with original and actual sin, as an unfortunate (if inevitable) prelude to her awakening during revival. Osborn’s description of her afflictions during this period are skillfully decoded to reveal the ways in which contemporary context, conflicted feelings about her parents, and the loss of a beloved spouse came to be understood as necessary preparation. Caught between Puritan and Evangelical notions of conversion, Osborn struggled to square her narrative with prevailing expectations by “combining the Christian language of human sinfulness and divine glory with a new Enlightenment vocabulary of benevolence, happiness, rationality and empiricism” (133).

Evangelicals knew that conversion marked the beginning, not the end, of the spiritual journey. With this in mind, Brekus arranges the second part of the book around various themes that concerned Osborn in the half century (1743-96) following her conversion. These chapters explore how the converted understood the death of the unconverted (chapter five); the ways in which evangelical embrace of the Enlightenment language of experience paved the way for women’s authorship (chapter six); the struggle over the meaning of poverty in a world of consumer abundance (chapter seven); and how evangelical conceptions of benevolence for the suffering soul surpassed humanitarian calls to aid the suffering body (chapter eight). Blindness and infirmity silenced Osborn’s pen over the last few decades of her life, but Brekus draws on the writings of friends and contemporaries to show how Osborn’s fervent millennial faith combined with a patriotic sensibility to sustain her during the difficult years of the American Revolution. The political wrangling, economic hardship, and social unrest that followed the war seemed only to confirm the coming of the millennium, even if she ultimately had to reconcile herself with not seeing it come to fruition. Brekus’s final chapter places Osborn on the threshold of the Heavenly City at the end of her journey, explaining changing conceptions of heaven and the afterlife.

Brekus’s exploration of Osborn’s understanding of Calvinist theology provides a valuable bridge between seventeenth-century Puritanism and nineteenth-century evangelicalism. For Osborn, evangelicalism was inflected through the lens of Calvinism. Methodist Arminianism only began its ascendancy in New England in the last decade of Osborn’s life. What emerges instead is a remarkably productive tension between Enlightenment ideals and Calvinist traditions. Long before free will became a hallmark of American evangelicalism, Osborn held an unflinching belief in human depravity, embraced suffering as a positive good, and feared loving her family and friends too much. Such a worldview is foreign to many of us today, but Brekus’s analysis of Osborn’s words and thought process reveals the logic behind her steadfast belief.

For many readers, the most eye-opening revelation of this book will be Osborn’s evolving position on slavery. Given the participation of evangelicals in the late eighteenth-century antislavery movement and the prominent place of enslaved and free blacks in the revivals that Osborn ran at her house in the mid-1760s, her best-remembered accomplishment, the assumption that she opposed slavery is an easy one. But as Brekus argues, “there was nothing about evangelicalism (or Christianity more generally) that inevitably led to abolitionism” (286-7). Osborn, like most other mid-eighteenth-century evangelicals, saw slavery as a natural, biblically sanctioned condition. In the early 1760s, an uncharacteristically obtuse Osborn almost fell out with a dear friend over the issue of selling that friend’s enslaved son, whom Osborn owned, in a particularly wrenching scene poignantly reconstructed by Brekus. Only with the arrival of fierce antislavery advocate Samuel Hopkins as the new minister of Osborn’s church, an appointment that she was instrumental in securing, did she begin to see slaveholding as a sin. Unfortunately, little evidence in Osborn’s own words, other than a poem dictated to a friend, documents her evolution on this important issue.

There is much to praise about this work, but one final contribution is worthy of note. Sarah Osborn’s world was one of momentous political, economic, and social—as well as intellectual and religious—change. Throughout the book, Brekus rightly insists that Osborn needs to be understood within the context of the currents of the eighteenth century. Rejecting interpretations of evangelicalism as a backwards-looking response to a period of upheaval, Brekus argues that, like the Enlightenment, evangelicalism represents “a vector of modernity, a creative response to the transformations that were reshaping everyday life” (8). Over the course of her long life, Sarah Osborn witnessed the expansion of the market economy and a consumer revolution; the emergence of a more representative form of government that substituted the sovereignty of the people for the sovereignty of the monarch; the growth of heterogeneous and religiously plural urban communities; the expansion of chattel slavery; and, in the last decade of her life, a movement to abolish it. More than anything, Osborn crucially experienced the proliferation ofchoice, the impact of which Brekus deftly weaves through her discussion of every aspect of Osborn’s life. Living in the urbanized seaport of Newport amplified these political, economic, and social developments. As Sarah Osborn made her way toward the world to come, the material conditions of this world played a pivotal role in shaping her spiritual experience, a crucial point that we all too often forget.


Kyle Roberts is an assistant professor in the History Department at Loyola University Chicago. He is the author of the forthcoming Evangelical Gotham: Religion and the Making of New York City, 1783-1860