Dancing the “Republican Two-Step” with Copyrights, Patents, and Corporations

In this issue of “Common Reading,” we bring you a conversation about an important aspect of our modern predicament, as seen through historical and anthropological lenses. Rudi Colloredo-Mansfeld, an anthropologist at UNC-Chapel Hill, and Mark Peterson, a historian at UC-Berkeley and editor of this column, discuss two books, one new and one old, and their collective implications for our world, in which ever larger corporations, with unfathomably sophisticated tools, are engrossing and enclosing ever more of the collective wisdom and potential knowledge of our societies.

 

Common as Air: Revolution, Art, and Ownership, by Lewis Hyde (New York: Farrar, Straus, and Giroux, 2010).
Common as Air: Revolution, Art, and Ownership, by Lewis Hyde (New York: Farrar, Straus, and Giroux, 2010).

Rudi Colloredo-Mansfeld:

Several years ago, in the mountains of Ecuador, I watched as burning tires melted doughnut-shaped ruts into the asphalt of the Pan American Highway. Bands of protestors stood by, steeling themselves for the arrival of soldiers. In March 2006, Andean natives had rallied to fight a free trade agreement between Ecuador and the United States. After ten days of stonewalling the activists’ demands, the national government declared martial law. In the town of Peguche, leaders called for residents to radicalize the strike (fig. 1). On a side street near their main blockade, teenage boys jabbed sharpened re-bar between the cobbles, prying up fist sized rocks. Further up the road, women sat on a curb surrounded by empty mineral water bottles and plastic jugs of gasoline, tearing white sheets into long, even strips—wicks for their anarchical bombs. As the strike accelerated toward its climax, the national media focused with increasing anger on one question: what were native peoples so concerned about? The details of the treaty were arcane; the consequence for native careers seemed remote.

 

Commonwealth: A Study of the Role of Government in the American Economy, 1774-1861, by Oscar Handlin and Mary Flug Handlin (originally published 1947, revised edition, Cambridge: The Belknap Press of Harvard University Press, 1969).
Commonwealth: A Study of the Role of Government in the American Economy, 1774-1861, by Oscar Handlin and Mary Flug Handlin (originally published 1947, revised edition, Cambridge: The Belknap Press of Harvard University Press, 1969).

Many protestors admitted they did not know the details. What they feared, though, was that their subsistence crops, their medicinal plants, and their ecological knowledge all were at risk. U.S. companies empowered by the treaty struck native peoples as an imminent threat, poised to convert Andean talents in farming and healing into corporate property. A pamphlet circulated at the Peguche blockade, insisting that with the free trade agreement, “indigenous people and peasants will be obligated to mono-culture, to use seeds treated in the laboratories of the United States (transgenetic).” Protest banners proclaimed, “Corn, Wheat, Potatoes are our Life: Out with the Treaty” (fig. 2). Put simply, with stones, Molotov cocktails, steel bars, and blockades, Indians were arming themselves for war against corporations bearing U.S. copyright and patent laws.

In Common as Air, Lewis Hyde sketches how we got here. Since World War II industrial economies have remade themselves as “knowledge economies.” Studios and laboratories have supplanted shop floors as the source of wealth. Monsanto, Pfizer, Microsoft, and Disney stake their future on the “know-how behind the goods” rather than material goods themselves. With the new technology of digital copying and the Internet, inventors can sell and resell the same idea infinitely and at little cost. And as the returns on capital multiply, the United States government has proved a willing ally in defending corporate ownership of ideas, aggressively exporting “knowledge laws” and forcing trading partners into compliance. The backlash against these American laws and their increasingly global reach raises a question: does this regime of intellectual property law represent something intrinsic about the United States—not just its economy, but its culture and society? After all, copyright law is rooted in the U.S. Constitution. Did the founders of the republic incline its citizens toward a commercial enclosure of knowledge and creativity?

In a wonderful exploration of this problem, Hyde tacks back and forth between political philosophies of James Madison, John Adams, and Thomas Jefferson, on one hand, and instructive moments of American creativity, on the other: Ben Franklin’s electrical experiments, Bob Dylan’s songsmithing, and Martin Luther King’s sermon writing. Seeking a language that could stand as an alternative to “exclusive copyright,” “private ownership,” and “intellectual property,” Hyde joins other writers who turn “to the old idea of ‘the commons’ as a way to approach the collective side of ownership.” The commons discourse turns out to be archaic and arcane. Hyde tells of “estovers,” “stinting,” and “beating the bounds.” The point, though, is not really to argue that the Founding Fathers conceived of science and invention as akin to harvesting in wild wood and shared fields. Rather, through his exploration of the commons, Hyde gains a set of heuristics—questions about communal duty, about the limits of exploitation, and about individual liberty—that guide his inquiry into early American writings on copyright and monopolies in commerce.

 

Fig. 1. Residents from Peguche assemble at a blockade protesting a free trade agreement between the United States and Ecuador, March 2006. Courtesy of Rudi Colloredo-Mansfield.
Fig. 1. Residents from Peguche assemble at a blockade protesting a free trade agreement between the United States and Ecuador, March 2006. Courtesy of Rudi Colloredo-Mansfield.

Hyde states somewhat drily that for America’s revolutionaries, “intellectual property is ultimately a republican estate. It is the intangible equivalent of the tangible res publicae (roads, bridges, harbors) of the Republic itself.” His meditation on the commons, though, reveals that estate as a dynamic composite of public duty, freedom, and uncharted lands. The commoners who gather in their perambulations to knock down encroaching fences, who hold themselves back from overgrazing their shared property, and who preserve the untamed wastes along with their plowed fields strike a balance between private affairs and a shared space of possibility.

Mark Peterson:

But isn’t the commons, in both its tangible sense as shared material resources, as well as its metaphorical sense of intellectual or knowledge resources, something more than just “possibility?” Doesn’t the traditional idea of the commons also have something to do with preserving a margin of security, or even a modest degree of comfort, in a hostile world? The firewood to be gleaned or the food to be gathered on the commons gave peasants comfort or warmth beyond what their own meager individual resources might yield, comfort they relied on as part of their due for the service they performed for their lord and their neighbors. Couldn’t the same be said of the right to sing a traditional song, or to use a clever new tool for getting work done a bit faster? To enclose these through copyright or patent is to rob someone of real comfort and security, not just possibility.

 

Fig. 2 Protest banner proclaiming "Corn, Wheat, Potatoes are our Life: Out with the Treaty" that was used during free trade strike, March 2006. Courtesy of Rudi Colloredo-Mansfield
Fig. 2 Protest banner proclaiming “Corn, Wheat, Potatoes are our Life: Out with the Treaty” that was used during free trade strike, March 2006. Courtesy of Rudi Colloredo-Mansfield

RCM:

Yes, and the tangible value of these resources, intellectual or otherwise, comes through in Hyde’s discussion of the equally tangible duties, burdens, and costs required to maintain the commons. Throughout much of the book, Hyde’s central concern is the interdependence of private interests and civic obligation. He tracks the ways that eighteenth-century thinkers proposed a structure of law, and assumed a manner of comportment, “such that the public domain might inherit from the private.” The “Republican Two-Step” he comes to call it, “first autonomy, then service.” The model here is a life career in which one matures from a partial, individualized, private self to the full dignity of a public life. Hyde uses the life course of the young John Adams to show the meaning of this process. Upon the death of his father, Adams inherited a farm in Braintree, Massachusetts, becoming for the first time a freeholder, a taxpayer, and a voter at town meetings. To Adams’ initial dismay, the town elders also expected him to become a bridge builder, standing him to be elected as Braintree’s surveyor of highways. Hyde writes that Adams’ protests as to his ignorance about the bridges mattered little; “everyone had to take a turn at town offices.” With property comes duty—not as an optional act of charity, but a requirement, intrinsic to the nature of property ownership within the community. And since the corporate towns of Massachusetts were the ultimate source of that property, the bodies that granted land in fee simple to the original inhabitants, then the town had every right to set the terms of property ownership.

This lesson would be generalized to knowledge and learning. If the drafters of the Constitution conceded the utility of granting monopoly privileges to authors and inventors, they saw this privilege as a limited one. With patents and copyrights come service; first private gain, then public use. Hyde quotes Jefferson: “certainly an inventor ought to be allowed a right to the benefit of his invention for some certain time. It is equally certain it ought not to be perpetual.” Jefferson’s certainty rested in part on a faith that “ideas should freely spread from one to another over the globe, for the moral and mutual instruction of man, and improvement of his condition.” It also lay in the conviction that “citizens can never be truly self-governing until they have a lively public sphere, a free flow of knowledge, religious liberty, and so on.” Citizens cannot passively await the appearance of a public sphere; they are duty-bound to create this cultural commons with their contributions.

All the talk of duty, service and obligation, though, risks misrepresenting the public sphere as only a burden, where virtue overshadows joy, morality tops creativity. Yet, as he builds his case, Hyde keeps his eye on all that is untamed, abundant, accidental, and random within a commons. It is these same qualities that set the potential for inventiveness in a knowledge commons. Hyde begins with Locke. The philosopher had observed that nature is a “wild common” lacking the improving hand of man (23). A vision of uncultivated “wastes” inspired dreams of plentitude; the commons appeared to Locke and others to be a primordial “commodious world.” Contemporary anthropologists (and the ancient peasantry) might dispute Locke’s vision of abundance on prosaic, ecological grounds. Typically, wastes remained uncultivated commons because the poverty of their soils and treacherousness of their slopes rewarded individual labor so meagerly. Humans traveled lightly on this land, passing by occasionally to harvest what they could, neglecting it at other times, and allowing the survival of wild plants and feral animals.

 

Fig. 3 "View of the Bridge over the Charles River," engraving attributed to Samuel Hill by Stauffer, No. 1398, 9.4 x 17.1 cm. Engraved for the Massachusetts Magazine, September 1789, vol. 1, No. IX (Boston, 1789). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
Fig. 3 “View of the Bridge over the Charles River,” engraving attributed to Samuel Hill by Stauffer, No. 1398, 9.4 x 17.1 cm. Engraved for the Massachusetts Magazine, September 1789, vol. 1, No. IX (Boston, 1789). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

MP:

So, in an ecological sense, it may seem surprising that Massachusetts turned out to be one of the places in the Americas where “commons” practices, and a “commonwealth” form of government, took hold with great tenacity. Compared to Mexico, Peru or Hispaniola, where natural barriers of mountains, high desert and rainforest resisted farming and preserved wildness, New England’s ecology easily sustained a comfortable human existence. But from an imperial point of view, the strength of commons and commonwealth in Massachusetts is no surprise at all. Peru, Mexico, and the Caribbean all yielded commodities of incredible value to Europeans—gold, silver, sugar—and so the various conquistadors seized and enclosed these territories as rapidly as they could. Massachusetts was a “wasteland” from this perspective, yielding almost nothing that England lacked. Oliver Cromwell called it “poor, cold, and useless.” Yes, the indigenous peoples or English colonists could subsist comfortably enough in its temperate climate, but there was nothing there that any self-respecting imperialist really wanted to enclose. That’s why, as late as 1630, it was still open to middling Puritan dissenters and their utopian dreams of a godly commonwealth.

RCM:

Although Hyde does not take up the ecology of the commons with this kind of specificity, he does have a sense for humans’ complicity within it. The collective defense of the commons—the beating of the bounds, the destruction of encroachments, stinting—promoted its generative wildness by holding the extractive technologies of market and polity in check. The practice of the commons removed fences and undid covert investments. When strongly held, such habits make possible “the practice of the wild, one whose first condition is the simple freedom to wander out, unimpeded, beyond the usual understanding and utterance.” Enter a living commons and have the chance to “contact with what lies outside our knowledge.”

All this consideration of the “practice of the wild” may divert readers away from copyright, obligation, and the public domain, but Hyde circles back to these concerns when he takes up the topic of liberty and what it meant to men like Benjamin Franklin, Tom Paine, and Noah Webster. Again, Hyde reflects on the freedoms afforded in an ancient England of commons and manorial estates. Here a model of liberated action could be found in the “fee simple,” or “allodial,” holdings, of those families fortunate enough to hold their estate without having to pay the vassal’s duty to the lord, a model that English colonists readily translated to North America, where there were no lords to pay, or where the lords were far removed, an ocean away from the settlers. But if the fee simple estate promised independence, it did not end an expectation of service. Rather, for Puritan thinkers, allodial estates relocated duty to the “conscience of the autonomous citizen.” Freedom becomes a social and moral condition, not a mere releasing of a person from bondage. Indeed, eighteenth-century writers equated individual liberty with licentiousness. It was “the freedom of beasts rather than that of human beings. Humanliberty, on the other hand carried with it an obligation to serve the public sphere.”

It is in this public condition, the free person’s necessary engagement with public life, that Hyde locates a deeper source of intellectual and creative liberation. The first step lies in personal effacement. Inventors, writers, and scientists stand to gain by disidentifying with their ideas, restricting their own claims on them, and allowing them the liberty to circulate. As Franklin wrote in the midst of the Revolution, “I have never entered into any Controversy in defence of my philosophical Opinions; I leave them to take their Chance in the World.” By stepping back from his or her creation, the public-minded citizen draws others into the debate. What might have been limited, private opinion instead becomes a public proposition about the world, a topic of shared conversation.

The second step toward freedom lies in joining others. Here Hyde jumps ahead to the twentieth century and engages the revolutionaries of the 1960s. As a teenager, for example, Bob Dylan immersed himself in the songs and lyrics of others, spending weeks listening repeatedly to records of Robert Johnson, copying his words on scraps of paper, listening to Woody Guthrie albums as if in a trance, playing Bob Nolan’s “Tumbling Tumbleweeds” in his head constantly. Losing himself in the work of someone like Woody Guthrie, Dylan realized that he was “feeling more like myself than ever before.” In a similar vein, the Reverend Martin Luther King assembled the “I Have a Dream Speech” from a host of thinkers: Gandhi’s ideas of soul force, James Baldwin’s and Malcolm X’s metaphors of promissory notes turning to bad checks, Archibald Carey’s refrain “Let freedom ring,” which Carey used in his 1952 address to the Republican National Convention. Not only did the power of the public sphere shine in the lyrics of Dylan and the speeches of King; that sphere itself became transformed through these men. In Hyde’s telling, the generative force of people such as Dylan and King grew from the way they were freed to travel in an ungated American cultural commons and the way they exercised their freedom in a form of public service, as dutiful members of a collective. Woody Guthrie’s work, itself borrowed and remade from countless earlier sources, is more powerful today than it was in 1960 because Bob Dylan also borrowed from it and shared it, making it something new yet again.

This conjuncture of service, freedom, knowledge, and the public sphere is what makes the lesson of eighteenth-century American revolutionaries matter for twenty-first-century Andean rebels. Assembled at the barricades in 2006, highland Kichwa people were not just fighting free trade laws. The activists, leaders, pamphleteers, and bomb makers were seeking to open a new Indian future in the contemporary world. If part of the struggle was political, aiming for increasing autonomy, another part of it was cultural, aiming to enhance their creative power. One of the most pernicious marks of colonization is the consignment of Andean knowledge to the realm of the local, the traditional, and ultimately the past. Indeed, domination entails the persistent interference with the knowledge-making of the colonized. The Stamp Act that forced residents of the North American colonies to pay more for a college degree than those in Britain is but one small example of the way in which power inheres in barring subjects from interaction and intellectual engagement, in forcing upon them a parochial isolation.

Andean leaders are well aware of this. In the course of the modern indigenous movement, they have established a university, created a scholarly journal, and built Websites. They are pushing for an Indian public sphere, for the growth and application of native knowledge. In Common As Air, Hyde spells out both the requisites and rewards entailed in making a durable cultural commons a reality.

MP:

But lest we underestimate what Hyde and the Andean protestors are up against, consider a still more recent set of events. On August 15, 2011, Google purchased Motorola Mobility for $12,500,000,000, at a price that was 63 percent higher per share than the going rate on the stock market. Why? Not because Google wants to become a manufacturer of cell phones. It’s all about the patents.

Google’s major corporate competitors in the business of capturing and shaping the world’s time and attention, Apple and Microsoft, recently acquired thousands of patents for the technological devices and know-how most useful in this cunning art. Not to be left standing out in the dwindling technological open fields, Google jumped into the enclosure game with its pricey purchase, buying Motorola’s 17,000 patents in order to rake in and fence off as much of the knowledge domain as possible. If Andean leaders in their new universities are going to put something of value on their Websites, Google is going to know about it, and figure out some way to extract advertising money from the process of directing anyone’s attention toward it.

When early American leaders, in imitation of English precedents, wrote patent and copyright powers into the United States Constitution, they presumably did not envision the possibility of a “person” who might acquire 17,000 patents in a single stroke with a mountain of money, a “person” whose lifespan might be perpetual, or a “person” with no real social relationships or public responsibilities. Article I, Section 8 of the Constitution speaks of “Authors and Inventors,” not corporations, as the potential beneficiaries when it grants Congress the express power to pass laws that will secure “for limited Times … the exclusive Right to their respective Writings and Discoveries.” But the Constitution nowhere recognizes or makes any specific provisions for the existence of corporations, which are the creations of legislatures in the individual states.

In an ordinary human life span of three score years and ten, a citizen of the republic (a John Adams or a Benjamin Franklin) might be expected to have an intrinsic sense of when the moment arrives for step one—individual accumulation—to cease, or at least slow down, and step two—public service—to commence or accelerate, in the performance of Hyde’s “Republican Two-Step.” But if a corporate “person” can live forever, with no responsibilities to the public and no social liabilities, and can find no limit to its accumulative capacities and desires, then why should it ever feel the need to move from step one to step two?

By toggling back and forth between the eighteenth century and nowadays, Lewis Hyde’s Common as Airskips across the era in which corporate personhood took on its modern form, and thus underplays an essential element of this larger story. To fill in this gap, let me turn to an older work, Oscar and Mary Flug Handlin’s classic study, Commonwealth (1947), written in a different era but for purposes strikingly similar to those of Lewis Hyde.

The Handlins, like Hyde, wanted to know how we got here. Their project was sponsored by the Committee on Research in Economic History, a New Deal-era endeavor to explore the historical relationship between government and economy. As the Handlins described it in the preface to their revised edition, “the guiding question when the research began was an assessment of the extent to which laissez faire was important in the American economy before 1860.” At the time they began their project, it was widely assumed that prior to the New Deal, government had played little part in the American economy.

What the Handlins found was strikingly different. By studying the role of the state in economic affairs in Massachusetts, they came to the initial conclusion that “laissez faire” was not even a relevant term in the commonwealth’s early history. The directing hand of the General Court was so prevalent, and so unquestioned, in countless aspects of economic life as to make “discussion of the development of economic policy in terms of laissez faire hardly meaningful… The hundreds of laws regulating the flow of water to mills, setting the time for the taking of alewives or providing for the inspection of potash were a challenge. What was their meaning? Why did men enact them? What function did they serve?” To answer these questions, the Handlins investigated the history of corporations, the economic institution of the early republic most closely associated with public policy.

This is precisely the point where the Handlins’ subject coincides with Lewis Hyde’s. For, like patent and copyright law, the corporation in the early republic was initially designed to perform an intricate dance, a variation of the Republican Two-Step. If patents and copyrights were meant to benefit individuals immediately and the public in the long run, the case with corporations would be roughly the opposite. The public would immediately benefit from the legislature’s creation of corporations, because corporations would take on useful tasks that lay beyond the means of any individual to perform, and which the state lacked the resources to manage on its own.

To offset the risks of such large ventures, the commonwealth could grant special privileges to corporations, such as unlimited duration, monopoly privileges, and the right to sell shares with limited liability to investors. The net result would be a public good—a reliable bridge across the Charles River, for instance—at minimal cost to the citizens at large. Eventually, the corporate undertakers and their investors might profit from the venture, but only if it actually provided the intended public good.

RCM:

Of course, to this day in the United States, do-gooders of all stripes form corporations, albeit non-profit ones, to carry their cause forward. The corporation in the U.S. in fact seems to take on a bewildering number of forms, from a small-town youth soccer program to an international software company. Yet for all the differences, each seems to share a fundamental quality: that of being a private initiative that stands apart from and perhaps in opposition to the state. Was a close alliance between the state and corporation in pursuit of the public good a historical anomaly, a particular innovation of the colonists?

MP:

Well, the corporation as a tool to advance the state’s interests had a long history before American colonization. But the likelihood that the chartered corporation would be the form through which the commonwealth of Massachusetts expressed its economic will was perhaps enhanced by the fact that Massachusetts was created as a chartered corporation by King Charles I in 1629. And the widely varied functions and purposes for corporations (though perhaps not youth soccer clubs) predated the colonization projects as well. The pre-modern state created corporations to promote a wide variety of public interests; international trading companies (the East India Company being perhaps the most famous), educational institutions (Harvard College was granted a corporate charter by Massachusetts in 1650), and civic corporations, designed to conduct the complex tasks of ruling urban spaces like the City of London, or, on a far smaller scale, the individual townships that made up the commonwealth of Massachusetts.

There was essentially no limit on the functions that a corporation could be created to perform—it could trade for spices, teach algebra, govern a colony, send missionaries to distant lands, or promote musical knowledge—so long as the state saw a public good that justified the creation of this privileged entity. Nor was there a uniform set of privileges that accompanied corporate status. The East India Company’s charter allowed it to raise its own army and navy to protect its interests. Not so for Harvard College. Ideally, the corporation would be granted powers and privileges appropriate for the public good it was meant to serve. At the time of Massachusetts’ independence, the corporation’s history offered many variants and many purposes, of which the “business” corporation was but one version.

By fighting an expensive war for independence, the individual states and the United States as a collective were left with a crushing burden of debt. The impoverished states had little spare fiscal power to promote economic development directly, through taxation and public spending. Therefore, the chartered corporation seemed like an ideal solution, a way to develop transportation infrastructure (turnpikes, bridges, canals) or to encourage manufacturing without spending non-existent state funds. If the public benefitted from a corporation’s activities, then granting the corporation certain privileges, such as a regulated monopoly on bridge tolls, seemed a small price to pay.

But the story the Handlins tell in Commonwealth is, like Hyde’s story in Common as Air, a tale of unintended consequences. The Handlins explain how the institution of the chartered corporation in Massachusetts was transformed between 1774 and 1860, under the pressure of the egalitarian forces of a democratic republic, and in the context of underlying conflict between commercial interests and the concept of the public good. The story is a complicated one, and Commonwealth often makes for difficult reading—it lacks the luminous clarity that Hyde, the poet, offers in Common as Air. But there are two key issues around which the Handlins’ story turns, and both of them are directly relevant to Hyde’s story as well.

First, limited liability. For many of the purposes that corporate entities were created to fulfill, individual members of corporations found themselves performing tasks that they would not have undertaken as private individuals. For example, when the Massachusetts towns conducted their business, the individual town officers, chosen by their fellow citizens, were not personally liable for damages. If a bridge that John Adams was charged to build within Braintree collapsed and a farmer lost a wagonload of hay, Adams would not pay for the loss. If there were damages to be paid, the town as a whole shouldered the blame. Without such protection, it would have been difficult, if not impossible, to convince private individuals to take up the burden of serving the corporate body politic. For obvious reasons, this privilege also spilled over to the participants in business corporations chartered to perform a public good. If the same farmer’s horse went lame crossing a bridge built between two towns by a chartered corporation, then the corporation as a whole, not the individual directors, investors, or employees, shared the blame—individual liability for acts of the corporate body was limited in the corporate charter.

The question grew more complex when considering the extent of the financial liability of the members to the corporation. For the civic corporation of the town, there was ultimately no limit on the town’s ability to assess its citizens to pay the town’s debts. If a town, that is, a citizens’ corporate collective, decided to build bridges, and if the ultimate cost of the bridges turned out to be twice what the town expected, the citizens could be assessed as much as necessary to pay the extra costs—there was nowhere else to turn, after all. Ideally, this collective financial liability of the body as a whole provided a check on what the townspeople as a corporate entity would take on (and, in its nightmare worst-case-scenario, this speaks to the situation that countries like Iceland, and the various members of the European Union, have been facing in the past few years).

But what about a business corporation? If a bridge cost twice as much to build as expected, who was liable for the corporation’s debts? Could a bridge corporation assess (or tax) its members or investors to an unlimited degree in order to pay off its debts, the way that towns could? The Handlins describe a series of decisions from the early nineteenth century in which the Massachusetts courts said, essentially, no. Although investors were, like townspeople, members of a corporate body, their liability for its obligations was limited. Why? Because without this added privilege of limited liability, it would prove impossible for corporations to gain investors and share the risks, to raise the funds necessary to carry out their tasks. In that case, the public purposes sought by the state in chartering the corporation would go unfulfilled.

RCM:

It is striking that a public purpose still guided rule-making at this point for business corporations. As you mentioned earlier, the modern U.S. business corporation provokes so much anxiety in a place like Ecuador because it seems to have enormous privileges but no responsibilities save returning profits to investors. How were corporations able to so simplify their objectives and divest themselves of civic duties?

MP:

The limited liability decisions proved to be the beginning of a separation between the civic corporation and the business corporation. The purpose of this distinction still appeared to be the promotion of the public good, to facilitate the commonwealth’s desire that business corporations would have the tools they needed to take on large and useful projects. But with this subtle change, the law of the commonwealth elevated the individual financial interests of investors in the business corporation, giving them an importance comparable to the public good in a way that was very different from the civic corporation.

The second critical change in the nature of corporations also seemed to stem from the desire to promote the public good. This was the rise of general incorporation laws, a process in which the monopoly privileges of chartered business corporations were gradually undermined. In the old monarchical regime, privilege was not a problem. That world was hierarchical, and all persons were decidedly not equal before the law. The crown had the power to reward those who performed notable public services for the kingdom with special honors and privileges. But in the newly formed American republics, privilege was a problem, and the privileged status of the traditional chartered corporation, a child of the old order, would inevitably be challenged in the new. Here, the famous Charles River Bridge case, ultimately decided by the U.S. Supreme Court in 1837, offers the clearest example of this transformation.

For many decades in the colonial period, the Massachusetts General Court had authorized a ferry to carry passengers back and forth across the narrow stretch of the Charles River separating Boston from Charlestown. The proceeds from this ferry had gone to Harvard College as part of the state’s support for that chartered corporate body’s promotion of learning and knowledge. But in the postwar recovery of the 1780s, as the two neighboring cities rebuilt from the war’s destruction, it was clear that a ferry could no longer handle the growing volume of traffic. The General Court chartered the Charles River Bridge Company (CRB) in 1785, offering its directors and investors a special set of privileges in return for building this useful public amenity. On condition that it continue payments to Harvard College for the lost ferry revenue, the corporation was entitled to keep all the profits from the bridge tolls for a period of forty years, after which ownership of the bridge would be turned over to the Commonwealth as public property, and bridge travel would be free and open to all. In fact, these provisions made the CRB charter granted by the Commonwealth of Massachusetts extraordinarily similar to the terms of early patent law created by the U.S. Congress—a temporary monopoly on the proceeds of the “invention,” followed eventually by permanent public benefit, Hyde’s Republican Two-Step in a nutshell (fig. 3).

Several years later, the General Court awarded a charter to a similar bridge company, farther up the river, connecting Boston to Cambridge. When the CRB proprietors complained that this new bridge would cut into their accustomed revenues, the state responded by extending the CRB’s entitlement to the profits, from 40 years to 70 years, well beyond the likely lifespan of the original proprietors. In the meantime, the CRB proved to be a wild success. A share of stock in the bridge, valued at $333 when issued in 1785, had risen to over $2000 by the 1820s. In the company’s growing desire to protect its investors’ profits (and to defer the public its free travel), we see the practical consequences of the limited liability cases and their elevation of investor interests at the expense of the public good, an exact parallel to the way Congress in the twentieth and twenty-first centuries has granted repeated extensions of the length of copyright and patent benefits to their owners.

It was precisely in response to this affront to the good of the commonwealth that the privileges of the CRB were challenged. In 1823, a competing group of investors petitioned the Massachusetts General Court to allow them to build a bridge immediately adjacent to the Charles River Bridge. Eventually, the legislature granted this group, the Warren Bridge Company, a charter which mandated that they turn their bridge over to the public within six years, as soon as the tolls, which were to be fixed at the same rate as the Charles River Bridge tolls, had paid for the costs of construction, plus five percent interest to the investors, (compared with the 600% return that the CRB had already yielded to its shareholders over forty years). A brand new and soon to be free bridge, immediately adjacent to the older toll bridge, would (and eventually did) undercut the CRB and its storied profits, so the CRB sued the state for breach of contract. Although its charter did not say as much, the CRB claimed that monopoly control over the route from Boston to Charlestown was an implicit right in their charter, and that to promote the building of an adjacent bridge therefore violated the privileges to which the CRB investors were still entitled for decades to come.

After a long and complex legal fight, the U.S. Supreme Court finally decided the case against the CRB. In writing the majority opinion, Chief Justice Roger Taney overruled the sanctity of property and contract arguments, the so-called “vested property rights,” of the CRB, and instead based the decision on yet another definition of the public good. Not only did the CRB’s monopolistic and, for all practical purposes, perpetual control over a popular travel route clearly undercut a vital public interest, preventing potentially better, safer, or faster means of travel from developing, but the very fact of privileging one group, the CRB proprietors, at the expense of all other entrepreneurial citizens who might perform the task equally well, meant that the state was effectively creating a commercial aristocracy, a corporate person possessing rights and privileges denied to all others. The Charles River Bridge case thus paved the way for general incorporation laws, where the corporate form—including the limited liability privileges established in earlier decisions—became available to any business group that wanted to use it.

With Taney’s decision and the subsequent rise of general incorporations laws, the original logic behind the monarchical state’s creation of corporate personhood melted away in the face of demands for equal treatment of all “persons” in republican society. What remained from the corporation’s original purpose was a set of privileges, whose purpose now was nothing more than to advance and protect the business interests of entrepreneurs and their investors. By the end of the Handlins’ story in 1860, the second step of the Republican Two-Step, the corporation’s responsibility to serve a well-defined public interest, has vanished completely.

So now we see more of the story of how we got where we are today. Two intertwined legal institutions, corporations and intellectual property rights, both founded in a monarchical world of privilege, both adopted as temporary and limited privileges to promote the general public good, have each evolved in ways that have diminished the duty to the public, while retaining and expanding on the privileges. We might see these changes as simply the result of greed, the desire among individuals or corporations to see their property and privileges as nothing but commodities, forgetting the role of the state in their initial creation. But at the same time, we can see the changes as natural outcomes in a democratic and egalitarian society, especially with regard to corporations, where the idea of granting privileges to some at the permanent expense of others, as in the Charles River Bridge case, seems anathema to the freedom and opportunity we wish to foster.

RCM AND MP:

Where does this leave the Andean demonstrators in the face of U.S.-Ecuador trade agreements? Where does it leave us all, in the face of Google and its 17,000 new patents? Might an answer lie in carrying forward the logic of Common as Air and rethinking the Republican Two-Step?

For all those who no longer believe in the ability of the state, the citizens’ collective, to identify a public good beyond the interests of any given person, i.e. for “libertarians” (in U.S. terminology) or “liberals” (as the rest of the world uses the term) who see nothing but the market’s invisible hand as the only justifiable good, we ask this: if you can see no coherent way for the state to identify and enforce Step Two—service to the public – then why should the state continue to grant Step One—special privileges to “persons” of any kind? The Constitution gives Congress the power to promote science and useful arts through patent and copyright protection, but Congress does not have to exercise that power, which is a vestige of a monarchical world, and can change the terms of those protections. State law creates the privileges that corporations often use in ways that cause demonstrable harm, but state laws can change these institutions as well. However, we suspect that those who clamor for “free markets” do not actually have the courage of their convictions necessary to give up the privileges. Having lost sight of the civic responsibilities of the Republican Two-Step, they have become equally blind to the service that the state now offers them in the extension of copyrights and corporate liability protection. At times it takes the black smoke of a street protest to remind us just how hardened and lopsided government-backed privileges have become in the United States.

For all those who continue to believe in the commonwealth ideal, that our government can identify measures of public well-being beyond the private interests of individuals (the camp in which we place ourselves), we urge that an active case be made to promote a better understanding of this history in the effort to restore Step Two of the Republican Two-Step. Yes, the privileges of corporations, copyright, and patent may be vestiges of an abandoned monarchical world. But they are also deeply entrenched in our world, probably impossible to eradicate entirely. Our only alternative is to fight for what makes the privileges of corporation and copyright worth preserving. We can once again extend the state’s power, our collective power as citizens, to insist that private property and public responsibility be inextricably linked, and that privilege always be made to benefit the public, and we can create ways to equalize the power of those, like Andean Indians, overwhelmed by the limitless privileges of others. Otherwise, we as citizens of the republic, who created these privileges through our constitutions and laws for the sake of the public good, will stand impotent in the face of the monsters these creations have become.

 

This article originally appeared in issue 12.1 (October, 2011).


Rudi Colloredo-Mansfeld teaches anthropology at the University of North Carolina, Chapel Hill. He is the author of The Native Leisure Class: Consumption and Cultural Creativity in the Andes (1999); Fighting Like a Community: Andean Civil Society in an Age of Indian Uprisings (2009); and, with Jason Astorio, “Economic Clusters or Cultural Commons? The Limits of Competition-Driven Development in the Ecuadorian Andes,” Latin American Research Review (2009).

 



A Drunkard’s Story: The market for suffering in antebellum America

One way to tell a drunkard’s story is by the distances he travels. John Gough was born in Sandgate, England, in 1817, and was indentured to a family going to America and sent across the Atlantic. For two years he worked for the family on a farm in Oneida County in Western New York. When it became apparent they would not keep their promise to educate him for a trade, he got permission from his father to strike out on his own. He returned to New York City, alone and “glad to have my fate in my own hands, as it were.” Gough found work as a bookbinder’s apprentice, only to lose the job in the economic downturn. He soon made the wrong kind of friends, and by the age of 17 was already a heavy drinker. He traveled to Newport, Rhode Island, found work and lost it by his drinking. By 1842, Gough had ended up in Worcester, Massachusetts. He had gained and lost more jobs; had married, had a child, and drunk his family into destitution. He stood by, intoxicated, as his son died, and again when his wife died in childbirth with their second child. Gough’s wandering had slowed to standstill when, just 25 years old, he stumbled out of a bar into an unusually cold October night and, not for the first time, contemplated suicide.

From that moment until his death in 1886, Gough would transform these facts of his early life into an extraordinary career as a temperance lecturer. As a drunkard, Gough had been “utterly alone in the world,” he later wrote, “forgotten by God, as well as abandoned by man.” Yet by 1844, he was the headliner of a national temperance convention in Boston (fig. 1). Over the next four decades, Gough traveled by carriage, railroad, and steamship to tell his story to audiences in churches, theaters, town halls, and auditoriums in every part of the United States. By the end of his life, Gough’s speaking engagements added up to over 11,000 lectures and some 500,000 miles of travel across North America, as well as two tours of England, and other appearances in Europe. In the course of these travels, Gough became known as “the apostle of temperance,” a role model and emblem for the largest and longest lasting grass-roots social and political movement in U.S. history, and arguably the most popular lecturer of his lifetime.

The story that Gough told about the suffering caused by his alcoholism and his eventual recovery would become a staple of American culture, both high and low. A distinctively modern genre of confession, it anticipates the late 20th century interest in pathographies, a genre of biographical writing focused on personal disaster and dysfunction, ranging from James Frey’s fictionalized memoir A Million Little Pieces to “reality television” dramas such as Intervention. By situating Gough’s story of hard times within the context of the early 1840s, we can learn new things about the historical origins and cultural functions of this kind of narrative in American life. How did a working-class drunkard with little formal education become a narrator of hard times to society at large? How did Gough’s story circulate, and what might his celebrity tell us about the evolving meaning of class in nineteenth-century America? What role did he play in helping Americans think about the powers of the will in the midst of impersonal social and economic circumstances of modernity? To follow Gough’s story among the philanthropic, commercial, and ideological interests that brought it into the public sphere and kept it there, is to discover a surprisingly modern politics of culture: contests over the collective meaning of personal suffering, and competing ways of packaging moral authority in the marketplace of culture.

 

"View of the Grand Mass. Washingtonian Convention on Boston Common, on the 30th of May, 1844." Lithograph by Thayer & Co.'s Lithog. (Boston, circa 1844). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
“View of the Grand Mass. Washingtonian Convention on Boston Common, on the 30th of May, 1844.” Lithograph by Thayer & Co.’s Lithog. (Boston, circa 1844). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

 

The story Gough told did not begin its public life in American culture as a written text. It was, rather, an oral genre that drunkards improvised about their personal suffering and recovery among the Washingtonians, a grass-roots movement that began in 1840, when six artisans in a Baltimore tavern pledged to stop drinking. Within months, as news of their reform spread, hundreds of local chapters were formed, enlisting thousands of members primarily in the northeastern and Midwestern states. This movement introduced a new story about drunkards to the public sphere of social reform. The story was new because of its plot, which ended with the redemption of a class of persons which, in older narratives of temperance activists, had been consigned to death, or written off in the statistical profiles of crime, madness, and poverty. The story was also new, however, in the way it was told, which Abraham Lincoln described in an address to the Springfield Washingtonians in 1842: “When one who has long been known as a victim, stands up with tears of joy trembling in his eyes, to tell of the miseries once endured, now to be endured no more forever, of his once naked and starving children now clothed and fed comfortably; of a wife long weighed down with woe, weeping, and a broken heart, now restored to health, happiness and renewed affection … how simple his language; there is a logic, and an eloquence in it, that few, with human feelings, can resist.” As Lincoln’s description begins to suggest, the story’s appeal derived from its sincerity and authenticity. What made the drunkard’s story “irresistible” was its joining of a Christian allegory of redemption to a sensational melodrama of domestic suffering. In telling their stories, drunkards exemplified a secular salvation that was freely given to all who might choose the humble grace of sobriety by signing the total abstinence pledge. Given the depths of the worldly hell from which they had suddenly risen in 1840, the Washingtonians were all the more miraculous for their “eloquence,” the simple language and logic by which they described the realities of poverty and deprivation.

Gough only lived to tell his tale of wretchedness and woe because a stranger tapped him on the shoulder, and invited him to a meeting of the Washingtonian Temperance Society in Worcester. To this group, Gough first spoke in public about his poverty and abjection, and by their simple creed and example—to talk only from personal experience, and to help other drunkards—Gough learned how to shape this experience as a story. As it was ritualized in the fellowship and outreach of the Washingtonians, the “experience story” offered Gough and countless other drunkards a script for ethical practice. Before neighbors, acquaintances, and strangers who had cast them in morality plays about vice and failure, drunkards asserted their autonomy—their capacity to choose a path besides the one to which they had been consigned by circumstances of birth, by the fatalities of habit, the accumulation of poor options, and bad decisions. Offering hope to others trapped in the despair from which they had risen, the public telling of their stories allowed drunkards to reclaim their very humanity, what they invariably called their “nobility” and “independence” as men. Unable to rely on the education and privilege that previously identified temperance reform with middle-class gentility and professional expertise, these reformed drinkers could nevertheless offer each other friendship, planting “their standard of moral government” on “the noble and manly feelings of human sympathy and love.”

Gough’s story began to leave a paper trail when, just two months after his reformation, he was enlisted by the Worcester Washingtonians to go on a speaking tour of the surrounding region. In the first of several scrapbooks in which Gough documented his speaking career, his first clipping was from The Worcester Waterfall, a paper edited by his fellow Washingtonian Jesse Goodrich. Dated December 31, 1842, it announced, “this talented and worthy young mechanic is about to commence the business of lecturing.” For the next six months, the paper supplied its readers with steady coverage of Gough’s appearances, as they began in nearby towns of Upton, Sutton, and Norfolk, and branched out to New Hampshire and Maine. Correspondents in these towns reported on the sizes of his audiences and on his success in getting pledges even from among “hard drinkers” or “hard cases,” praised his effectiveness as a speaker, and promoted him to other communities. A January 28 “Letter from Sutton” declared Gough to be “the man above all others, for the work in which he was engaged.” Goodrich not only publicized the intensive schedule of Gough’s engagements, but also handled bookings on his behalf at least until the fall of 1843. In return, Gough served as a subscription agent for Goodrich, selling to the local readers along his path a newspaper that was busy selling him. Throughout Gough’s first years on the lecture circuit, Goodrich continually ratified his institutional identity as “the Washingtonian lecturer” and the devoted emissary of “Washingtonian principles.” Meanwhile, the network of Washingtonian papers with which Goodrich exchanged news continued to certify Gough as “the Washingtonian lecturer,” his words as touching “the Washingtonian chord.”

From the outset, then, this “business of lecturing” in which Gough and Goodrich collaborated was devoted to selling Washingtonianism as a brand in the marketplace for reform. With the rapid spread of the movement, the publicity surrounding the missionary outreach of the original Baltimore group in New York and lectures by reformed drunkards had already become a familiar, if not notorious, feature of the cultural landscape. During a visit to Dedham, Massachusetts, in the spring of 1843, for example, Gough received coverage from the Norfolk American, a political paper which, as the Norfolk Washingtonian reported, “had never uttered a syllable in favor of a Washingtonian lecturer”: “we think him the best lecturer we have heard of that class of men called ‘reformed drunkards.’ He is a foreigner by birth, an Englishman we should suppose, from his correct pronunciation. His own experience as an intemperate man, tho’ dreadful, is not more terrible than that of many others of that unfortunate class of men, but in truthful descriptions of scenes of misery produced by drunkenness we have never heard him surpassed.” As the notice suggests, a tale of suffering, however impressive on its own, loses its novelty upon repetition. Before Gough set foot into a hall or church with his own experience, then, the Washingtonians had turned the drunkard’s misery into a predictable genre of lecture delivered by “that class of men called ‘reformed drunkards.'” If the content of Gough’s story seemed old hat, however, the quality and style of his “truthful descriptions” had never been seen or heard before.

Gough’s life as a public speaker was launched by the Washingtonians, but it flourished because he found ever-larger audiences within the temperance movement and eventually beyond it. Gough found these audiences by acquiring two new, influential patrons: Moses Grant, a prominent philanthropist and civic leader in Boston who throughout the 1830s and 1840s sought to publicize the link between drinking and poverty; and Rev. John Marsh, who served as “corresponding secretary” of the American Temperance Union. Like Goodrich, Grant and Marsh organized Gough’s appearances and took an active hand in marketing him in the press. Both men had years of experience in the organization and promotion of temperance from within the mainstream of protestant philanthropy and the reform press in the Northeast. Through their many contacts with philanthropists, ministers, and temperance societies, they opened doors for Gough that had literally been closed to the Washingtonians. In August of 1843, for example, Grant brought Gough to Boston for his first official lecture in the city, essentially giving him the mainstream movement’s stamp of approval. Grant advertised Gough’s special suitability for observant Christians, and promoted an appearance at the Odeon theater by noting in the Boston Recorder that his “Sabbath Evening addresses have been so very acceptable in our city.” Due in large part to Grant’s influence, Boston’s Mercantile Journal began to follow Gough’s appearances both in and out of Boston, including in their detailed coverage frequent references to scripture readings, prayer, and the ministers in his company.

As if poaching him from the minor leagues, Grant and Marsh broadened Gough’s appeal, and helped him transform a mission of reform into a vocation. Marsh read about Gough’s speaking in Worcester in a newspaper, and by the fall of 1843 had hired him as an agent for the American Temperance Union, the preeminent mainstream temperance organization which since the 1830s had developed a bureaucratic, centralized infrastructure linking together local associations, publishing and circulating reports, and sponsoring regional meetings and conferences. “I felt that such an instrument of rousing the public mind should not be lost,” Marsh later wrote, “and I made arrangements with him to go through the State of New York, and to speak with me in all the principal towns and cities.” Marsh took Gough on a speaking tour where he spoke in churches of all denominations, to the Auburn State prison, and even to colleges, which “released the students from their evening studies, that they might hear the young orator, who admirably adapted himself to such an audience.” Giving hundreds of lectures before larger, more respectable audiences, a “reformed inebriate” was transformed into an “orator” despite his working-class background.

As Gough’s story traveled out of the lecture hall and onto the printed page in 1843, his reputation as a speaker spread to what we would now call the mainstream press. Take, for example, the first clipping in Gough’s scrapbook featuring his name in a headline: “GREAT MASS TEMPERANCE MEETING AT FANEUIL HALL—MR. GOUGH,THE DISTINGUISHED WASHINGTONIAN.” Appearing in the Daily Mail, one of Boston’s major dailies, the paper introduced Gough to a general audience, offering some biographical background. It could not assume, in contrast to temperance papers, that its readers were adherents to the “cause” or “reform.” Rather, the article sought to explain why “he appears to be the chief attraction of the day”:

Mr. Gough is really a genius, sui generis, and a perfect genius for the Washingtonians. His broad mouthed denunciations of rum selling, his eloquent and pathetic descriptions of personal suffering, his endless budget of stories, anecdotes, songs, “gaieties and gravitas,” is enough to move a heart of stone, or make an inebriate explode with laughter.

 

Gough in action on the lecture platform. Daniel Macnee, John B. Gough, engraved by Edward Burton, mezzotint, image and text 50 x 30 cm., on sheet 66.5 x 49 cm., (Edinburgh, Scotland, 1855). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

 

Within the genre of Washingtonian address, the Mail set Gough apart as a “genius, sui generis” for his resources and tactics as a performer. Along with the expected attack on rum-sellers and accounts of personal suffering, Gough brought emotional depth and range, employing an “endless budget” of stories and songs that allowed him, despite a cold, to give “most abundant satisfaction” to “one of the most crowded audiences that ever congregated within the walls of old Faneuil.” Like so many other reviews that Gough received in his first two years as a lecturer, this article gives special emphasis to the diversity of his appeal, which retained the Washingtonian’s common touch of the barroom humor appreciated by inebriates, while engaging a whole new constituency who had seemed beyond the reach of reform: “In some instances, hundreds of the most gay and fashionable young men have walked up and signed the pledge, after hearing his discourses; young men that no other influence on earth could move to such a step.” Suggesting that the special “influence” Gough exerted on even “the most gay and fashionable” was of a piece with his skills as a performer, the article closed by telling readers to attend his next lecture that evening: “Mr. Gough will ‘both speak and sing’ to the great edification and amusement … of all who may choose to attend. Go and hear him, by all means. It is as good as a play, and twice as useful.”

So what, then, made this reformed drunkard’s story so compelling to diverse people—”as good as a play, and twice as useful”? Gough had learned to tell a story from his father, a veteran of the Napoleonic wars who, though unable to temper his “stern discipline” and “military habits,” earned his boy’s affection by reenacting battles he had witnessed “until my young heart would leap with excitement,” as Gough later wrote. Gough learned to read and write when he spent a couple of years at a local seminary. He discovered his speaking voice while reading aloud to his mother as she did piecework as a seamstress, when strangers stopped by their cottage “attracted by my proficiency in this art.” It was in the bars of New York, however, where Gough would hone his talents as a performer: “I possessed a tolerably good voice, and sang pretty well, having also the faculty of imitation rather strongly developed, and being well stocked with amusing stories, I got introduced into the society of thoughtless and dissipated young men, to whom my talents made me welcome.” When he found himself without work, his teenage “longing for society” led him to drinking; when his drinking made him unable to keep work, he sought jobs on the stage, eventually leaving New York for stints with theater troupes in Providence and Boston. As alcoholism took hold of Gough’s life, he put his performance skills to work nursing his addiction: “After every other resource had failed me,” Gough wrote, “my custom was to repair to the lowest grogshops, and there I might be usefully found, night after night, telling facetious stories, singing comic songs, or turning books upside down and reading them whilst they were moving round, to the great delight and wonder of a set of loafers who supplied me with drink in return.”

From the dislocation, isolation, and despair to be found at the margins of economic and social life, Gough furnished the stock episodes of the drunkard’s picaresque that he would go on to deliver, night after night and year after year, from the lecture platform. Working without notes, Gough used mimicry and variety to dramatize his own experiences. Reporters invariably commented on the “graphic” nature of his “illustrations,” his rapid shifting among “scenes,” his “personations” of villains and victims along the drunkard’s path. I”n the evolving media environment of the 1840s, it was Gough’s inventions as a performer that enabled him to render “truthful descriptions” of already well-known miseries, giving “to motive and appetite and principles life-like and breathing existences that all can recognize.” In the comfort of the lecture hall, Gough’s “vivid transitions from argument to pathos” made the social world of intemperance emotionally accessible and physically present, from the “mincing steps” of stumbling inebriate to the genteel hypocrisies of “the social glass.” Making experience a vehicle for social witness, Gough gave anonymous facts the narrative power of allegory. As the New York Tribune declared in 1844: “You can almost hear the sigh—the cry—the curse—the low jest—almost see the thin wife, the bloated husband—the days of light and the days of darkness—the scenes of happiness, and the midnight hours of despair—as they are to be seen in many a street of our city, as they are found in the downward track of almost every drunkard.”

In both the grog shop and the lecture hall, Gough used the same skills as a storyteller—dining out, so to speak, on his uncommon ability to enlist sympathy from diverse audiences. In putting his personal suffering on display to win the the affection of thousands of people who would gather to see him across the United States, however, Gough converted the insecurity and emotional need that marked his experience of poverty and degradation into habits of a new sort of moral personality—a mission to convey, as widely as one man could, the reality of the drunkard’s suffering, in its most quotidian and sensational details. That mission required freeing social activism from the cultural spaces and proprieties to which it had been confined. As the Providence Journal noted, Gough was “able to display his surpassing power of imitation, anecdote, and humorous remarks to much better advantage in a hall principally devoted to secular uses than he can do with propriety in a church or place devoted entirely to religious worship.” Gough became especially famous for his “thrilling” and “terrifying” impersonation of the delirium tremens. Indeed, in 1843 he made his first public appearance in Boston in the lower hall of the Boston Museum, just months before the 1844 debut of its first theater production, The Drunkard, which featured the tremens as a sensational climax but was sold to respectable audiences of women and children as a “moral lecture.” He was sometimes referred to as an “evangelical comedian”: people “who dare not patronize a theater, and therefore do not know what acting is, go and laugh safely with Gough, the great platform actor.” As the truth of Gough’s story came to be measured by the range and accuracy of its telling, Gough’s career as a lecturer perhaps helped to popularize a taste for theatricality. Indeed, the story of moral agency he repeatedly testified to on the platform would, in print, be objectified as acting—the ability to bring personal experiences to truthful life for the entertainment of an expanding middle class.

Gough acquired remarkable celebrity as a performer by carrying his story among an array of spaces, networks, and media that were rapidly reshaping education and leisure in antebellum America. By 1844, he had traveled 12,000 miles, and gotten 29,000 signatures from people who, after listening to Gough tell the true story of his own experience, had promised to abstain from alcohol. He kept meticulous notes about these travels, piling up the stats of a major-league slugger for the temperance movement. In 1847, for example, he spoke 240 times, traveled 7,313 miles, visited 102 towns and cities, and obtained 10,936 names. In the years ahead, as newspapers amplified his reputation to regional and national audiences, Gough ceased to be the “instrument” of any particular faction of temperance reform, and built an independent career as a temperance lecturer. From the meticulous memoranda books that Gough kept on his lectures from the 1840s to the 1870s, it becomes clear that public lectures were generating a consistent revenue stream, and could support the most effective performers with an often-sizable income. In that sense, the circulation of Gough’s story coincided with the commercialization of the public lecture. By 1853, for example, Gough had gotten over his discomfort with charging admission, and was making $25 to $50 a lecture. In 1857, he earned a total of $10,000. His annual income grew in subsequent decades, so that by in the 1870s, he was making as much $26,000 a year. As these numbers demonstrate, a working-class man turned his experience of suffering in nineteenth-century America into an asset that was both commercial and moral, by cultivating a professional identity and national celebrity as a public speaker (fig. 2).

 

Gough became a national celebrity on the lecture circuit, and the subject of impersonations by another popular performer, Miss Helen Potter. "Miss Helen Potter, in her Personations of Celebrities," lithograph by Armstrong & Co., drawn and printed for Redpath's Lyceum Bureau, image and text 28 x 18 cm., on sheet 28 x 18 cm. (Boston, between 1887 and 1898). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
Gough became a national celebrity on the lecture circuit, and the subject of impersonations by another popular performer, Miss Helen Potter. “Miss Helen Potter, in her Personations of Celebrities,” lithograph by Armstrong & Co., drawn and printed for Redpath’s Lyceum Bureau, image and text 28 x 18 cm., on sheet 28 x 18 cm. (Boston, between 1887 and 1898). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

 

Over the course of his career, Gough carved out a social mission for his public speaking that blurred political activism, education, evangelism, and entertainment. As he did so, organizations and entrepreneurs staked competing claims to the meaning of his story, seeking to define its value as it moved among diverse spaces and institutions in the marketplace for culture. To whom did this drunkard’s story belong, and what obligations did Gough assume in its telling? Could the moral lessons of the drunkard’s suffering be separated from the realities of social inequality in which it was clothed? In John Gough’s relationship to the Washingtonians, these questions came to have very public consequences, as one drunkard’s suffering came to be fought over by new and old factions within the temperance movement—the object of ideological conflicts over the meaning of class in American life. They would have consequences as well for how John Gough came to identify with his own experience as a drunkard.

Although short-lived as a formal movement, the Washingtonian revival posed a dramatic challenge not only to the tactics of the reform establishment, but to its cultural authority as well. Equipped with personal experience alone, drunkards testified to seemingly universal and transcendent truths unmediated by the sectarian and political prescriptions by which temperance had been addressed by professional elites throughout the 1830s. As The New England Washingtonian observed in 1843, the laborers of their movement “are the hard working people … The meeting-house and the state house have other matters to attend to. They have sects to build up, and laws to make. The true reformer is not at home in such places. He can’t take off his coat in them. He can’t speak in them.” In taking off their coats and moving outside political and religious institutions, these “true reformers” were attacking the utility of the literary training, educational privilege, and middle-class gentility which ministers, doctors, and lawyers had brought to temperance reform. Defending the forum it offered to the voices and plot lines of indigent and degraded people, the paper added that it never pretended to furnish “an establishment for a marble center table, or that it would contain a feast of literature on which the Scholar might feed to satiety.” For those professional reformers who had feasted on innumerable lectures, sermons, convention proceedings, and pamphlets throughout the 1830s, the absence of literary and scholarly attributes in the experience story attested to lack of moral credibility. The occasional charlatan who passed the hat as a Washingtonian speaker, the many reformed men who relapsed, the barroom vulgarity and humor with which they seasoned their moral lessons: all of this merely confirmed a prejudice held by many that no man who had become a drunkard could be trusted with his own self-control, let alone as a paid agent of social reform. To hitch the water wagon to any recovering alcoholic was to gamble the credibility of the temperance movement on personal character which experience had already proved to be unreliable.

Allying himself with the temperance establishment, and Marsh in particular, Gough made himself a target of radical Washingtonians seeking to protect their movement from “sectarian” agendas of politics and religion. In offhand comments made during an address he gave in August of 1844, at Tremont Temple in Boston, Gough reported that he had been informed “by the leading Washingtonians that Washingtonianism, as an ism, was dead. The reason assigned for this was, that the people in these places had become disgusted with the many follies dragged before the public in connection with Washingtonianism,” including not only “theatrical exhibitions, & c.,” but “infidelity.” Gough had just returned from a lecture tour of western New York, which Marsh had organized with the explicit purpose of engaging ministers and philanthropists who had been alienated from Washingtonianism. As Gough later recalled in his third and last autobiography, Sunlight and Shadow (1881), he found that long-time temperance leaders—”faithful men… who had endured persecution for the truth’s sake”—were being “thrown into the background,” dismissed as “old fogies, slow, men who did not understand the first principles of reform.” Meanwhile, “men became leading reformers who were not qualified by experience, or training, or education, to lead,” and “reformed drunkards sneered at those who had never been intemperate, as if former degradation was the only qualification for leadership.” One can imagine how, in the early 1840s, such polemics seemed to turn the world on its head: having never been drunk, the good ministers were unfit to lead temperance reform.

In making these comments, Gough was defending the many educated, ordained “friends” who had brought the former drunkard to their homes, escorted him to towns and villages, counseled him in his struggle for faith, and tutored the former artisan in how to conduct himself on the public stage. But Gough’s words merely confirmed the suspicion of some of his brothers that he had become the puppet of his ministers. “For these utterances I was subjected to an attack which, being the first, wounded me sorely,” in which he was “called to account for mixing orthodoxy” with his temperance appeals. A Washingtonian paper attacked Gough in October of 1844, noting that he “is a reformed man, and has ample evidence in his own glorious experience of the all-conquering power of the true Washingtonian principles, and motives innumerable to lay before the poor inebriate in urging his reformation, without going into the future world for them—motives connected with this life, with the poor sufferer’s own temporal well-being and happiness.” Gough could have drawn on the “ample evidence of his own glorious experience,” but rejected common sense in favor of metaphysical questions of salvation in order to address the “future world” of the reformed. Such criticism assumed that temperance was a “holy cause” whose “all-conquering power” was proved by personal experience. Substituting theology for the presence of truth in the drunkard’s own experience, Gough was diverting attention from “motives connected with this life,” from what ordinary men could know and verify by reference to their own “temporal well-being and happiness.” Other papers piled invective onto these arguments in subsequent weeks: “A religious bigot and ignoramus.” “Perverting the cause to sectarian ends.” “Dwelling on a set of motives which he knows never had any politics in promoting this glorious reform.” To these critics, Gough had squandered the example of his own life for the sake of entirely speculative theological claims about eternal life. In short, Gough had drunk the Kool-Aid of religious ideology, and was now peddling theoretical “motives” for reform, polluting the revelations of the drunkard’s suffering with sectarian politics.

The break from “Washingtonianism” that ensued from Gough’s comments would be painful and personal, haunting him for the rest of his life. Despite the fact that Washingtonians had saved his life, he could barely bring himself to mention their name in the first two autobiographies he published, in 1845 and 1861. In his last autobiography, however, Gough would seek to vindicate himself by turning to his scrapbook, where clippings about his career had, with the passage of time, assumed the aura of historical evidence. “I have before me two volumes of scraps collected from the temperance papers of 1844-46. This was about the time when some of the societies would have no members but those who had been drunkards; who would permit no minister of the Gospel to take any part in their exercises; who occupied the whole of the Sabbath day in meeting, relating experiences, and singing songs that were occasionally objectionable.” Decades later, Gough would, in writing, swear on his personal experience to vindicate himself: “I was a Washingtonian rescued by the spirit of Washingtonians,” he wrote, “and testify of what I know in saying that more than one minister of the Gospel shut the door of his church against these men, because he could not sit still and hear in his own pulpit, before his own people and the children of his charge, such loose and sometimes vulgar utterances as were occasionally heard.” In testifying “of what I know,” Gough insists that Washingtonianism was a ministry of “spirit” rather than the body. It was a kinship he acquired by being rescued through love and compassion, after all, rather than by sharing the physical and verbal traits of a social class. But “these men” claimed the experience of degradation itself as a badge of social honor: not to bear personal witness to impersonal spirit, but to claim exclusive ownership of a profane body, identified by loose and vulgar language, by the rudeness of its songs and impiety of its conduct.

Balancing the debts his suffering had incurred among the Washingtonians with the credit it had brought him on the lecture circuit, Gough could only reenter the drunkard’s body second hand, as a character to be played on the lecture platform. It might be for comic or tragic effect, but Gough’s achievement, in the course of telling his story no less than living it, depended on turning away from the drunkard’s experience of privation. It was a life he could only share with shame, as the mortified body from which the Washingtonians had reclaimed a soul, a circumstance from which an individual had asserted his freedom. To now wear this hairshirt of degradation with working-class pride was to give up the spiritual authority of humility. To be deserving of sympathy, after all, required showing others—especially the nondrinkers in the house—a desire for social respect: self-conscious recognition of the propriety and dignity of one’s person, repudiating not only drinking but the cultural environment in which it had occurred. Gough would carry the drunkard’s suffering as personal and professional baggage, and would act it out on the stage, to sensational and lucrative effect, as a vehicle to alter the conduct and mores of others. But the degradation and despair that had owned him for seven endless years were nothing he cared to own now, as the collective identity and autonomous culture of the working class.

This drunkard’s story is worth telling, in part, for what it tells us about historical meanings of class, and how forms of communication enter into the scripting of social difference. For Washingtonians, the “moral government” of community depended on toleration and respect for social differences produced by inequality. As Gough presented himself in public, night after night, it came to require something else: that individuals free themselves from the stigma of class difference by embracing seemingly universal norms of civility, and become “respectable.” It would be tempting to find in Gough’s professional success some betrayal of his working-class origins, an abandonment of the democratic creed of the Washingtonians. And yet, in the very frequency and intensity of his movements on the lecture circuit, Gough seems to have maintained solitude in the midst of his fame. Though he befriended many prominent reformers throughout his life, he turned down invitations to dinner parties of local worthies in towns and cities he visited, as though unable to abandon his difference as a drunkard: “The more I mingle with the wise, the pure, the true, the higher my aspirations, the more intense is my disgust and abhorrence of the damning degradation of those seven years of my life.” Carrying a working-class ethos of Washingtonianism into an expanding marketplace for leisure and entertainment, perhaps this itinerant storyteller also brought—if only for an hour or two—news of our capacity for identification, despite the facts and fatalities of social difference (fig. 3).

We still have much to learn about how we live with stories: about the way that otherwise impersonal plots, voices, images, phrases, and stereotypes that make up our common repertoire of culture become intimate attributes of personal identity, mutual attachment, and social difference. To follow Gough’s movements through diverse spaces and institutional identities—from churches to theaters and auditoriums, from missionary agent to civic actor—is to perhaps learn new things about how stories are valued: not for their intrinsic art as what people in the academy now define as texts or literature, but for their social missions, as tools of personal and collective welfare, for the remaking of individuals and communities. In reading over the thousands of notices that Gough pasted into his scrapbooks, we can never hear the sound of his voice, or see his body. Like the nineteenth-century readers who encountered his story in the newspapers, we are left with the aftermath of Gough’s presence, in the paper wake of experiences that, we are repeatedly told, cannot be described. In the ephemeral and corporal presence of humanity which he embodied for so many people in the nineteenth century, Gough’s paper trail perhaps testifies to what John Dewey described in an 1888 essay as the democratic faith in the individual as a moral personality: “an ideal of spiritual life, a unity of will” for the whole community, in a world that continues to be reshaped by the divisive forces of secular liberalism and capitalist modernity.

Further reading

On the media context of social reform, see Augst, “Temperance, Mass Culture, and the Romance of Experience,” American Literary History 19:2 (2007) 297-323. On popular traditions of autobiography in the context of early American print culture, see Ann Fabian, The Unvarnished Truth: Personal Narratives in Nineteenth-Century America (Berkeley, 2000). For interpretations of antebellum temperance narratives, see Karen Sanchez-Eppler, Dependent States: The Child’s Part in Nineteenth-Century American Culture (Chicago, 2005); Glenn Hendler, “Bloated Bodies and Sober Sentiments: Masculinity in 1840s Temperance Narratives,” Sentimental Men: The Politics of Affect in American Culture (Berkeley, 1999), Mary Chapman and Glenn Hendler, eds.; John W. Crowley, Drunkard’s Progress: Narratives of Addiction, Despair, and Recovery (Baltimore, 1990); John W. Crowley, “Slaves to the Bottle: Gough’s Autobiography and Douglass’s Narrative,” Serpent in the Cup: Temperance in American Literature (Amherst, 1997), David S. Reynolds and Debra J. Rosenthal, eds.

Class dimensions of Washingtonian revival and temperance reform more generally are discussed in Ian Tyrell, Sobering Up: From Temperance to Prohibition in Antebellum America, 1800-1860 (Westport, 1979); Jed Dannenbaum, Drink and Disorder: Temperance Reform in Cincinnati from the Washingtonian Revival to the WCTU (Urbana, 1984); Joseph Gusfield, Symbolic Crusade: Status Politics and the American Temperance Movement (Urbana, 1963). Temperance reform has been interpreted more recently from the perspective of gender in Elaine Frantz Parsons, Manhood Lost: Fallen Drunkards and Redeeming Women in the Nineteenth-Century United States (Baltimore, 2003); Bruce Dorsey, Reforming Men and Women: Gender in the Antebellum City (Ithaca, 2002); Holly Fletcher, Gender and the American Temperance Movement of the Nineteenth Century (New York, 2008).

 

This article originally appeared in issue 10.3 (April, 2010).


Thomas Augst is associate professor of English at New York University. He is the author of The Clerk’s Tale: Young Men and Moral Life in Nineteenth-Century America (2003) and the coeditor, with Kenneth Carpenter, of Institutions of Reading: The Social Life of Libraries in the United States (2007).

 




Lessons in Diction and Deism

"Mico Chlucco the Long Warior or King of the Siminoles," frontispiece from Travels through North & South Carolina, Georgia, East & West Florida … William Bartram (Philadelphia, 1791). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

The Literary Paradises of Hurston and Bartram in a High School Curriculum

Early American literature is not commonly taught at the high school level. There are many reasons for this: diction is florid, page counts are high, novels are nonexistent, and a more painless nod to the colonial period is easily managed with a study of The Scarlet Letter or The Crucible. If the typical goal of high school literature classes is to inculcate a love of reading in students and to expose students to writing worth mimicking, then the most prudent course is to cleave to the latter half of the nineteenth and twentieth centuries. During my years teaching some of the most popular curriculum standards, though, I have found that opportunities abound to incorporate earlier texts.The Great Gatsby cries out for excerpts from Ben Franklin’s journals, and the references that Anne Petry makes to the Junto in her novel The Street do as well. Study of Ralph Ellison requires supplementary readings in the Transcendentalists to help unpack allusions to Emerson and the Golden Ball. Even one Brit Lit high school stand-by, Jude the Obscure, requires reference to an early American antecedent: Thomas Hardy’s model for the Bible altered and improved by the iconoclastic Sue Brideshead was surely modeled on Thomas Jefferson’s Life of Jesus of Nazareth.

But none of the pairings I list above complement each other as well as the works of two Florida writers, one of the eighteenth and one of the twentieth century: William Bartram’s Travels and Zora Neale Hurston’s Their Eyes Were Watching God. To begin with, the biographies of these two writers make for a fascinating comparison. Both approach their highly poetic and philosophical depictions of Florida with concrete backgrounds in the sciences: Hurston with her anthropology background and Bartram with his familial background in botany and naturalism. Both were single minded and wary of aligning themselves with grander political projects: Hurston was famously rebuffed by contemporary novelists like Richard Wright for refusing to take up the race issue, while Bartram turned down Jefferson’s invitation to join the Lewis and Clark expedition. Both were avid travelers, explorers, writers, gardeners, thinkers, and Florida enthusiasts.

Both authors write about nature as a lens to think metaphysically about human life. In other words, both Bartram and Hurston appear to be “watching God” through nature.

As a student of anthropology under Franz Boas and a lover of her home state of Florida, Hurston probably read Bartram’s Travels. Although no direct reference to these early American travelogues appears in her writing, she was certainly conscious of the tradition. In her autobiography, Dust Tracks on the Road, Hurston tells an anecdote she frames as the turning point of her education, when a teacher recited for the class the poem “Kubla Khan.” Her affection for that teacher, the drama of the reading, and the stunning imagery of the poem cemented her love of learning. This is the only specific reference that Hurston makes to the curriculum of her formal schooling, and one can only wonder if she recognized her native state of Florida in the imagery of the poem. The fact that Coleridge, in writing “Kubla Khan” (among other poems) took inspiration from Bartram’s travels down the St. John’s River is well documented in the poet’s notebooks.

Since Hurston was an innovator in bringing Southern black dialect into her fictional dialogue, diction is a natural focal point for literary study of her works. The same holds true for the study of William Bartram, not because of regional idiom so much as the pure foreignness of elevated eighteenth-century writing to the ears of contemporary adolescents. Look at how these two descriptive passages, because of their similar attitudes toward a storm, throw one another’s language nicely into relief. Hurston writes:

Ten feet higher and as far as they could see the muttering wall advanced before the braced-up waters like a roadcrusher on a cosmic scale. The monstropolous beast had left his bed. The two hundred miles an hour wind had loosed its chains. He seized hold of his dikes and ran forward until he met the quarters; uprooted them like grass and rushed on after his supposed to be conquerors, rolling the dikes, rolling the houses, rolling the people in houses along with other timbers. The sea was walking the earth with a heavy heel.

 

"Mico Chlucco the Long Warior or King of the Siminoles," frontispiece from Travels through North & South Carolina, Georgia, East & West Florida … William Bartram (Philadelphia, 1791). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
“Mico Chlucco the Long Warior or King of the Siminoles,” frontispiece from Travels through North & South Carolina, Georgia, East & West Florida … William Bartram (Philadelphia, 1791). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
"Portrait of William Bartram," engraved by T.B. Welch from an original painting by C.W. Peale, date unknown. Courtesy of the Portrait and Print Collection, the American Antiquarian Society, Worcester, Massachusetts.
“Portrait of William Bartram,” engraved by T.B. Welch from an original painting by C.W. Peale, date unknown. Courtesy of the Portrait and Print Collection, the American Antiquarian Society, Worcester, Massachusetts.

 

Bartram uses many of the same devices in his description:

But yet, how awfully great and sublime the majestic scene eastward! the solemn sound of the beating surf strikes our ears; the dashing liquid of yon liquid mountains, like mighty giants, in vain assail the skies; they are beaten back, and fall prostrate upon the shores of the trembling island.

Although the styles of these two writers are drastically different, the techniques they use—personification, sensory imagery, hyperbole—and their goals are surprisingly similar. The two texts are replete with passages that might be juxtaposed for close study of language.

Excerpts from Bartram are also useful in contextualizing many of Hurston’s themes. One of the central symbols in Their Eyes Were Watching God, a bee pollinating a pear tree, echoes Bartram’s philosophical musings about mosquitoes, or swamp ephemera, “inimitably bedecked in their new nuptial robes.” When Bartram steps back to compare the very short period for which these insects leave their muddy homes of their lowly grub stage and live as flying insects to the ephemeral nature of human happiness, we also see an opportune comparison to Hurston’s philosophy of happiness. When her character Janie speaks to her lover, Teacake, about the hard times they are suffering, she says “If you kin see the light at daybreak, you don’t keer if you die at dusk. It’s so many people never seen de light at all. Ah was fumblin’ around and God opened de door.” Both authors write about nature as a lens to think metaphysically about human life. In other words, both Bartram and Hurston appear to be “watching God” through nature.

Animal motifs are another important element of study in Their Eyes Were Watching God, and students generally are interested in examining and discussing the novel’s menagerie. In one passage depicting an incipient hurricane, animals have lost their fear of people and of each other under the threat of the natural disaster’s “common danger.” Hurston depicts this temporarily peaceable kingdom when she writes that “A baby rabbit, terror ridden, squirmed through a hole in the floor and squatted there in the shadows against the wall, seeming to know that nobody wanted its flesh at such a time.” She concludes that “Common danger made common friends. Nothing sought a conquest over the other.” Bartram likewise devotes some of his most beautiful passages to the transcendence of the fleeting peace of the wilderness. Coming upon a “chrystal fountain” or a spring, he observes that the clear waters and resulting unobstructed vision causes loss of predatory instinct among the animals:

Yet when those different tribes of fish are in the transparent channel, their nature seems absolutely changed; for here is neither desire to destroy nor persecute, but all seems peace and friendship. Do they agree on a truce, a suspension of hostilities? or by some secret divine influence, is desire taken away? or are they otherwise rendered incapable of pursuing each other to destruction?

Both authors seek from nature these moments of extreme unity that link them both to the deist tradition of belief. While Bartram frequently detects his “supreme protector” in the natural dangers that bypass him peacefully, Hurston seeks God in the inscrutability of the elements that surround her. In her autobiography she writes, “The ever-sleepless sea in its bed, crying out ‘how long?’ to Time; million-formed and never motionless flame; the contemplation of these two aspects alone, affords … sufficient food for ten spans of … expected lifetime.”

To juxtapose the work of these two authors pedagogically is to enrich both of their legacies. Hurston was a writer who railed against the politicization of her work and the demands on her to be a “race writer.” This universality of themes that she insisted upon and her pure enthusiasm for the land shine especially when studied in the context of early America, its deists and naturalists. Bartram, too, is burnished: from the obscure place of a long-winded botanist he becomes more easily recognizable as the sensitive observer, recorder, and thinker he truly was. It is an interesting exercise to look with students across generations to see their fruit trees, their magnolias, wild beasts and beasts of burden, their Seminoles, their insects and their hurricanes both startlingly lucid.

 

"A Map of the Coast of East Florida from the River St. John Southward near to Cape Canaveral," between page xxxiv and page one of Chapter One from Travels through North & South Carolina, Georgia, East & West Florida … William Bartram (Philadelphia, 1791). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
“A Map of the Coast of East Florida from the River St. John Southward near to Cape Canaveral,” between page xxxiv and page one of Chapter One from Travels through North & South Carolina, Georgia, East & West Florida … William Bartram (Philadelphia, 1791). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

Further Reading

Hurston’s biography Dust Tracks on the Road (1942) contains reflection about the author’s education, early life in Florida, spirituality, and many other interesting strands that justify a reading together with Bartram. Although Their Eyes Were Watching God (1937), Hurston’s masterpiece, is the most appropriate choice for the high school literature classroom, Hurston also writes about Florida in some of her other works. In Mules and Men (1935), she records the folktales of the region. She also worked on the WPA Guide to Florida (1939), and her contributions are not those of a typical guidebook: rather than tourist sites, she describes sites of old folklore, places of sacred significance to the African American and Native American communities.

For more on Bartram’s wide ranging influence see N. Bryllion Fagin’s William Bartram: Interpreter of the American Landscape (1933). This text includes some biographical background on Bartram, as well as close textual study of his style. Among the most interesting observations about Bartram’s writing is the shifting diction that Fagin attributes to his lack of formal education. Although Bartram was certainly tutored in botany and the Linnaean system by his famous father, the remainder of young Bartram’s education resulted from self-directed reading.

Sadly, no searchable e-book of Bartram’s Travels, or Travels through North and South Carolina, Georgia, East and West Florida, the Cherokee Country, the Extensive Territories of the Muscogulges or Creek Confederacy, and the Country of the Chactaws. Containing an Account of the Soil and Natural Productions of Those Regions; Together with Observations on the Manners of the Indians (1792), exists, only facsimile editions, so the hunt for passages that complement those found in Hurston must be done the old-fashioned way.

 

This article originally appeared in issue 14.4 (Summer, 2014).


Abigail Walthausen is a writer and a teacher at Bishop Loughlin Memorial High School in Brooklyn, New York.




Old School: Glenn Roberts restores Carolina grains

Common-place: Glenn Roberts, you are known as the defender of the landraces, the preserver of the most ancient and most storied grains cultivated by civil cultures since the development of agriculture. Would you care to define what a landrace is, and suggest what is its importance as food and as cultivars?

Glenn Roberts: Landraces are pre-industrial domesticated plants or animals that are distinct and maintained agriculturally in contrast to modern cultivars/breeds that are distinct and maintained by scientific breeding with modern farming methods. Landrace cereals, legumes and oil seeds have been maintained by farmers over hundreds and mostly thousands of years. This landrace trilogy, if you will, when combined with landrace brassicas, is the basis of all sustainable domesticated food systems worldwide from antiquity. Popular media, since the 1980s, presents landrace cereals, vegetables, etc., under the banner of “heirloom” foods here in the USA. This term is increasingly imprecise because the generally accepted definition of “heirloom” is any domesticated food plant or animal in production over 50 years ago. This definition now includes foods that were developed scientifically between 1950 and 1960 … the delineating decade of emergent scientifically bred and maintained green revolution production crops in America.

Common-place: Most people when they think of a vegetable “variety” think of a plant that will have a uniform configuration, growing history, fruit size. Landraces existed before the modern markets for food and industrial agriculture came into being. How do they diverge from the common picture of uniform type?

Glenn Roberts: The compelling realities of landrace agriculture include genetic diversity where variation is celebrated and encouraged to maintain crop vigor, success in low-resource, high-stress environments … low fertility, drought resistance, disease and pest tolerance being a few of the chief advantages … and the innate ability to adapt to climate and other change. Landrace crop diversity and variation contributes to appealing and dramatic flavor profile and high-quality nutrition. It is best limited to human scale small family or community farming due to variability in ripening and crop fragility that can thwart early and/or uniform harvest and wide distribution. In other words, landrace systems are the quintessential “local” food systems meant for “local” consumption. Most important, success of landrace food systems is dependent upon the relationship of many individual landrace plants and animals which creates more diverse foods with inherent variability, which is attractive in human scale “local” distribution, but the antithesis of uniform traits required for industrial farming and manufacturing food systems.

 

Fig. 1. Glenn Roberts holding cob of Red Flint Corn at Anson Mills, Columbia, South Carolina. Photograph by David S. Shields. Courtesy of Carolina Gold Rice Foundation, Charleston, South Carolina.
Fig. 1. Glenn Roberts holding cob of Red Flint Corn at Anson Mills, Columbia, South Carolina. Photograph by David S. Shields. Courtesy of Carolina Gold Rice Foundation, Charleston, South Carolina.

Common-place: What grains do you currently cultivate? And what are their distinctive qualities?

Glenn Roberts: Anson Mills is attempting to revive the husbandry of the Carolina Rice Kitchen … the cuisine of the Carolina and Georgia lowcountry that flourished before the Civil War. Cereals, legumes and oil seeds are fundamental crops and intercrops (grown together on the same ground) within the Rice Kitchen. This cuisine is the result of the latest pervasive landrace market farming in our region. Our cereals begin with Carolina Gold rice and reach into every historic Creole crop influence beginning in the late seventeenth century in and around Charleston. All of the subsequent crops are connected in some fashion to successful rice horticulture. All of them share distinct attributes in stark contrast to modern crops. Most are very tall … up to 7 feet in some instances for rice, wheat, barley, farro, buckwheat, benne, Sea Island Peas, and rye, and up to fourteen feet for maize and sorghum. … This is reflective of their multiple uses beyond food: thatch, bedding, fodder and silage. All of these landraces have deep roots as well to better uptake water and nutrients including important micronutrients for human and animal nutrition. It is the characteristics of tall straw, deep roots and field ripening not present in modern crops that contribute to extraordinary flavor. Additionally, some of these crops, especially rye, benne and barley are allelopathic … they suppress weeds without tillage, making them energy efficient. Others are negative pest suppressive … certainly benne had that role, shared with brassicas, in antebellum rice, maize and cotton horticulture. There is also a wealth of medicinal properties within the set of grains, legumes and oil seeds of the Carolina Rice Kitchen. For example, barley tea, crème de riz, benne leaves, and many others contribute to the pharmacopeia of the Carolina Rice Kitchen.

Common-place: How did you first become interested in the fate of the landraces and begin putting them into cultivation in the United States?

Glenn Roberts: I thought growing corn and rice and milling both grains properly would be a great way to highlight the extraordinary flavors inherent in Charleston, South Carolina, foodways. As I moved into rice production, I noticed better flavors in rice when planted after field peas than after soy beans. … When I looked into the anecdotal histories of field peas on the Sea Islands, I discovered planting methods no one was using anymore … sequencing particular crops without repeating any crop back to back over seventeen years. … This is known as a sun cycle rotation and it is the most elegant farming system on our planet. When I began to discover the myriad different farmer cultivars (landraces) used in the sun cycle rotations for rice in old plantation journals, I was literally floored … none of those cultivars … landrace legumes, oil seeds, cereals, brassicas, were being grown together by any farmer I knew in the ACE Basin. So I began collecting oral histories inland in what is known as the “wheat belt” of South Carolina … an area beginning in Orangeburg (settled in 1703 by German wheat farmers) and running North and East to the coast. I found individual family farms growing kitchen plots of some of the old sun cycle crops. … Many were multi-generation free men families and most were somehow involved with small scale milling and had saved old sweet collards, benne, rice, maize, sorghum, mustards, turnips, sweet potatoes, yams, pumpkin squash. But I did not find any farmer still following the full rotation with all the crops. So I decided to pursue all the landrace crops associated with antebellum rice production to explore how flavor development is supported in crop sequencing. I have discovered, obviously, along the way … we’re in year 13 now … that sun cycle rotations promote extraordinary tilth as well.

 

Fig. 2. Glenn Roberts examining landrace benne grown by Merle Shepard at Clemson Coastal Research & Education Center. Photograph by David S. Shields. Courtesy of Carolina Gold Rice Foundation, Charleston, South Carolina.
Fig. 2. Glenn Roberts examining landrace benne grown by Merle Shepard at Clemson Coastal Research & Education Center. Photograph by David S. Shields. Courtesy of Carolina Gold Rice Foundation, Charleston, South Carolina.

Common-place: Because these grains came into cultivation in antiquity before the chemical soil supplementation and pesticide spraying that characterize “conventional” growing in the twentieth century, how do you grow them? Do you attempt to replicate old growing methods? Because ancient agriculture was labor intensive, do you make use of modern combines and technology for weeding, watering, and harvest?

Glenn Roberts: Our growing practices, like our milling practices, encompass manual artisan scale for delicate or very endangered crops and modern methods and equipment for many repatriated crops. For seed production, which is radically different from market farming, we use extensive hand labor. These practices are essentially unchanged from antiquity. For our best and most difficult market crops, we integrate hand work with machine farming techniques. We mechanically till a few of our crops in the very early stage of growth, but, unlike modern cropping, we plant cover crops between these crops to suppress weeds. For example, modern corn farming involves roll down no-till (which, if not managed properly can lead to nitrogen toxicity in future crops) or extensive mechanical tilling or spraying to suppress weeds. … We till once only, then immediately plant an aggressive cover crop like ground runner peas to suppress weeds and eliminate additional tilling. This is a slightly altered version of colonial-era 4-by-4 check hill-up maize farming. For other crops, we rogue our fields … pick out foreign varieties by hand and we under- or over-sow with allelopathic (weed suppressing) landrace crops like landrace clover, rye, barley, benne, etc. We plant our crops together … intercropping two or more crops in any field. … This develops harvest challenges that are not present in modern monocrop farming systems. We plant with crops farther apart than modern crops to accommodate larger root systems and taller crops. We harvest only field ripened crops, sometimes even sweeping the field multiple times with a team of hand harvesters to pick only ripe crop, versus monocrop harvest of the entire crop by machine all at once … monocrop harvest requires artificial drying … early harvest and forced drying suppresses flavor. We never irrigate landrace crops, with the exception of rice, of course, which is why we have about fifty percent success in any given year. Irrigation suppresses flavor in landrace crops. Climate stress improves flavor in landrace crops. All of the above practices we follow in landrace crop farming are exactly the same as, or simulate to a significant degree, horticultural methods from antiquity.

Common-place: How do you research traditional growing and cooking methods?

Glenn Roberts: My research odyssey with one particular cereal, Carolina Gold rice, illustrates the diverse sources and pathways that lead to repatriating best practices farming and cooking methods for a fundamental element of a cuisine system (the Carolina Rice Kitchen) that is extinct. My research followed three tracks. First, I mined antebellum rice farming and cooking documentation following the classic pathways of research in academic and plantation journals, planter biographies, travel diaries of visiting Europeans during our Colonial era and the same from Northerners after our Revolution, formal historic archives in our region, local newspaper archives and the standard classic cooking, farming and processing rice literature from our region from first contact to 1900.

My second and concurrent pursuit of rice farming and cooking facts and applications in antebellum South Carolina and Georgia was slightly counterintuitive: I set out to survey “on the ground” and document first hand the cooking methods and classic local recipes of Carolina rice throughout the ACE Basin, even though most locals cooked store-bought rice at the time. I surveyed social club and church archives and spent considerable time collecting oral histories from local cooks, farmers who were also cooks, and the community of commercial Sea Island fisherman, particularly families engaged over multiple generations in commercial shrimping. I discovered that families with shrimp boats also farmed truck and cereal crops. The oldest living members of these families had farmed rice before the Great Depression. These elders had hands-on experience with Sea Island farming practices based upon sustainable rice horticulture methods of the early nineteenth century. Their families also knew the arcane rice recipes emanating from nineteenth-century hearth cookery of Sea Island rice.

 

Fig. 3. Glenn Roberts and Patricia Moore-Pastides, author of Greek Revival: Cooking for Life, examining an intercropped field at Old Field, South Carolina. Photograph by David S. Shields. Courtesy of Carolina Gold Rice Foundation, Charleston, South Carolina.
Fig. 3. Glenn Roberts and Patricia Moore-Pastides, author of Greek Revival: Cooking for Life, examining an intercropped field at Old Field, South Carolina. Photograph by David S. Shields. Courtesy of Carolina Gold Rice Foundation, Charleston, South Carolina.

My third track of antebellum Carolina rice research should have been straightforward: I decided to perform hands-on Carolina rice growing and cooking research trials of the methods I discovered. The hitch I encountered was scientific … international seed banks and the available antebellum rice literature did not clearly define what “Carolina Gold” rice was. Nearly two decades later, I can easily deal with this confusion because we now know there were at least three distinct types of Carolina Gold rice exported from the Carolina lowcountry before the Civil War. But without benefit of clear documentation by modern day professionals engaged in cross-discipline research of antebellum cereals of the South, I decided to accept what the international rice seed banks offered as Carolina Gold rice and put it in the ground. I was blissfully ignorant of the fact that my study was flawed for over two years. The discovery of this deficiency led to my involvement with geneticists and the Carolina Gold Rice Foundation.

After an intense decade consulting with the world’s best geneticists, food historians and sustainable farming practitioners, I still follow all of the above three research tracks for every new element of the Carolina Rice Kitchen we repatriate. I have somewhat ironically coined the name “Book Farming” to identify the above first research track. I never assume these first track essential histories and practices will translate into modern reality. Instead, I focus nearly all of Anson Mills resources on food identification, horticulture, and cookery integrity which become clear only after we explore all resources from the second and third research tracks above. This process reverses the classic paradigm “farm to table” and follows a more reliable land based track from “table to farm.”

Common-place: What are you exploring next?

Glenn Roberts: I am fortunate to have open access through the Carolina Gold Rice Foundation, Slow Food USA and the Southern Foodways Alliance to an international group of noted scholars (geneticists, entomologists, food historians, chefs, food scientists, crop scientists, seed archeologists, etc.) whose research intersects everything I do in our fields with landrace crops. The interaction of cuisine, history and genetics is a relatively recent focus here in America, but, in order to redevelop landrace farming systems here in the South, our target continues to be, for want of a better title, Landrace Cuisine … the complete seasonally driven compliment of local landrace foods at table. The Landrace Cuisine of the Charleston region is the Carolina Rice Kitchen. By surveying New World culinary histories, plantation farm journals, scientific papers of the Agricultural Societies, historic cookbooks, family receipts in private papers, the extensive information from just before 1900 in the USDA Yearbooks, shipping manifests here and abroad, the scientific records surviving within the Madeira culture, seed archeology records, the papers involved with continuing interpretive farming at Plymouth, the National Colonial Farm at Accokeek, Mount Vernon, Monticello and Colonial Williamsburg and others. I also look toward Old World scholarship involving pre-Columbian farming exchange and foodways and their diaspora here after first contact. I am just beginning to explore the early maritime exchange between the East, particularly Indonesia, and Africa through histories associated with the Indies trade. There are literally oceans of resource materials available that reveal the complexities of crop and food characteristics and impact interpretation and repatriation of the Carolina Rice Kitchen and Charleston landrace farming. This challenge remains: how to connect the disparate information in this vast literature to develop a working landrace husbandry manual.

Common-place: You have been a critic at times of the “organic” label. What is inadequate in it? How do you prefer to characterize what you are doing?

 

Fig. 4. Glenn Roberts at Lavington Plantation, Green Pond, South Carolina. Photograph by David S. Shields. Courtesy of Carolina Gold Rice Foundation, Charleston, South Carolina
Fig. 4. Glenn Roberts at Lavington Plantation, Green Pond, South Carolina. Photograph by David S. Shields. Courtesy of Carolina Gold Rice Foundation, Charleston, South Carolina

Glenn Roberts: There may be a less direct term for my thoughts on this … because even though all Anson Mills crops are certified organic, I am not qualified to be a critic in this arena since I do not farm modern crops. But I do think the term “organic” must be viewed and used in context with its legal designation and regulation under the USDA National Organic Program. I see increasing divergence from what is organic today when contrasted with the spirit and on-the-ground intent of sustainable farming. The list of approved farming substances regulated by the Organic Materials Review Institute includes some questionable farming inputs and “amendments,” etc. Some modern organic farming looks much like conventional monocropping … something farmers who truly care about land quality may not consider sustainable now or in the future. Also, the timeless obligation of sustainable farming should be to present seasonality at its apogee and limit food preservation to those foods that, when preserved, retain or improve on that quality. I think frozen organic TV dinners may fly in the face of this obligation.

Common-place: Your training was not in botany, agronomy, or in any of the disciplines conventionally associated with the current practice of agriculture. Would you comment on your background, and how you came to develop such a passion for ethical growing and the preservation of heritage grains?

Glenn Roberts: My mother is Geechee … rice at every meal. And she is a terrific black skillet cook in the best Southern tradition. Her culinary sensibilities emanate from her childhood in Aiken, S.C., and Edisto Island, S.C., during the Great Depression. I was raised on deep Southern foods with rice in the center of my mother’s cuisine. I do care about my mother’s foods … they are my foods now but during my childhood they were mostly kitchen garden shadows of the greatness of the Carolina Rice Kitchen … it was fading even on Edisto Island during the Depression. I had no idea how far reaching this cuisine could be. The simplest foods had the greatest impact on me: mother’s grits and cornmeal ground weekly and rice pounded daily on Edisto Island. Today, one of our oldest rice fields is just four miles from my mother’s Depression-era church. I suppose the craving I experience for good rice is genetic and the research and scholarship of the professionals in this orbit provide confirmation of what everyone in my mother’s generation took for granted: good food is good for you. If I had formal training in genetics, botany, agronomy or any other facet of horticulture, I would not have attempted to revive landrace farming in the ACE Basin. My ignorance made what we have accomplished to date possible. The guiding principle continues to be: authenticity equals flavor, flavor equals genetic diversity, genetic diversity combined with great soil equals the best flavor, the best flavor improves the soil. I am driven to learn every nuance of this principle.

Common-place: Though your efforts were not driven by a market imperative to make a profit, you have enjoyed commercial success. Who buys your products? Why? And why do you think success has come your way when so many idealist planters never manage to become more than hobby farmers operating at a loss?

Glenn Roberts: After building hotels and restaurants for three decades, I turned to agriculture and formed Anson Mills for reasons not driven by profit–no feasibility study, no forecasts, no budget. In fact, I purposely set out to turn all my previous hotel business models upside-down. We are grant giving; we return profit to farmers and seed research; we provide support for foodways research on many levels, and we invest deeply in culinary research, both historic and modern. In this model, there is no bottom line. I found out after the fact that this philosophy is called a triple net business model. I set out to make something totally arcane relevant because that mission made sense to me. I knew chefs would get it if we focused upon flavor and made everything else peripheral. And I knew the top chefs personally, so in a way, I cheated because they would answer my phone calls. But the hospitality axiom remains: the only way to keep any great chef on board is with consistent and remarkable flavor. So far, so good.

Common-place: Government agricultural policy shapes much of the practice of farming in the United States. Would you comment on the proper role of the USDA in the current situation?

Glenn Roberts: I have been lucky enough in the last year to have the opportunity to offer ideas indirectly to the USDA. I believe the role of the USDA involves movement in the direction of sustainable practices while continuing support of market farming and community farming concurrently. The USDA should invest in landrace farming systems research to bridge genetics into modern cropping systems for drought resistance (low water requirements), low fertility production, high disease and pest resistance in a dramatically diversified cropping system as a complement to their ongoing careful shift away from green-revolution systems. The USDA should narrow their ultimate long term goal over the next three decades to net zero distribution (no export, no import) food systems with regional market food security networks (this replaces commodities export/import here and abroad and acts as a decentralized food reserve system) to address catastrophic loss due to any cause … war, pests, weather, etc. Our food exports and imports should be those foods we can grow that do not do well elsewhere and our imports should be those foods that do not do well here. Our global food security support programs should be in the form of seed that can be saved by third world farmers instead of terminator-style seed or inexpensive commodity grain that suppresses third world agriculture. This is a sustainable path to help feed the world.

 

This article originally appeared in issue 11.3 (April, 2011).


Glenn Roberts, CEO of Anson Mills and president of the Carolina Gold Rice Foundation, has been in the forefront of efforts to preserve the agricultural and culinary legacies of North America since 1998. He is recipient of the Southern Seed Savers Legacy Award, the Food Arts Silver Spoon Award, and is a member of Southern Foodways Alliance’s hall of fame, the Fellowship of Southern Farmers, Artisans, and Chefs. He is currently on Slow Foods U.S.A. Ark of Taste Committee. Equally expert in the field and kitchen, he, with the aid of his wife, food-writer and photographer Kay Rentschler, labors to keep alive the historic grains upon which the world’s traditional baked goods and alcoholic beverages depend.

 




Secrecy and Manhood

A political romance

Secret commissions, secret prisons, secret deliberations, secret e-mails, even secret public records—secrecy, it seems, is all the rage in executive circles today. With skill and steadfastness, the George W. Bush administration has, in large measure, successfully resisted the efforts of Congress and the courts to compel the release of information related to the internal workings of the executive branch. In inquiries dating to the earliest months of the administration’s first term and increasing in tempo until the present-day—rows over Dick Cheney’s Energy Task Force, the “torture memo,” “Plamegate,” the Department of Justice firings, and even more torture memos, just to name a few highlights—the executive branch has consistently and earnestly asserted its right to keep silent, sometimes making a defense out of the venerable doctrine of “separation of powers,” other times in the name of “the ability of the president and vice president to receive unvarnished advice.” Indeed, despite the Supreme Court’s 1974 decision in U.S. v. Nixon that “neither the doctrine of separation of powers, nor the need for confidentiality . . . can sustain an absolute, unqualified Presidential privilege of immunity,” as well as more recent judicial decisions condemning certain secrecy policies as “arbitrary, capricious, an abuse of discretion and not in accordance with law,” the administration has not been deterred. It is, unfortunately, impossible to judge just how much the secret has organized the internal operation of the current president. The number of documents classified as confidential, per executive order, remains secret.

Perhaps it should not surprise us that this official reticence has aroused intense suspicion. After all, as Walter Cronkite observed, “you keep secrets from people when you don’t want them to know the truth.” Yet the persistence of the secret as the Bush administration’s central organizational strategy, despite constant threats of investigation by Congress and the press, might suggest something more at work than the practical logistics of hiding embarrassing facts. Looking at the president’s almost reflexive reliance on “confidence” as the yardstick of patriotic commitment—confidence in Donald Rumsfeld, in Alberto Gonzales, in Dick Cheney and his staff—reveals another level of motivation, another modality of patriotism, another political tradition embedded in the secret. For it was in the supreme value of men’s “sacred confidence” (from con fides, “with trust”) that an early national generation of big-government conservatives asserted themselves, declaring to an often distrustful populace that men’s secrets were not only defensible but constituted the very measure of the virtuous man. In the energetic vindications of secret societies that erupted after the Revolution; in the closed doors of the 1787 Constitutional Convention; and in the contractual agreements between men, which constituted the only positive right of citizenship until the twentieth century—the partisans of men’s confidence unfolded a vision of the patriotic republic in the intimate spaces between men. To be sure, their audacious claims jarred mightily with the prevailing understandings of secrecy as particularly unmanly and effeminate—cultural notions of the secret that played a pivotal role in uniting revolutionaries in self-consciously manly purpose; it should be no wonder, then, that an emerging anti-federalist opposition would pounce on the delegates to the cloistered Philadelphia convention as debased, fleshy, weak, and womanly, “harpies of power . . . inebriated with the lust of dominion.” And indeed, the unmanly, sexually inverting secret echoes in some of Bush’s more creative critics, finding in Bush’s Skull and Bones Society days the origin of a lifelong effort to obfuscate his alleged schoolboy predilections for homoerotic Satan worship. But for the persistent advocates of disciplined diffidence, the secret did not unman men or even isolate them. It made them, almost incomprehensibly to many, republican men, realizing a manly virtue in the simple and transparent capacity of one man to assess another, to “look into his eyes”—as George W. Bush assessed Vladimir Putin at their first private meeting—and “get a sense of his soul.”

 

"Master Giving the Grand Masonic Word on the Five Points of Fellowship." From Malcolm C. Duncan, Duncan's Masonic Ritual and Monitor: or Guide To The Three Symbolic Degrees of the Ancient York Rite . . . ," 3rd ed. (New York, [1866?]). Courtesy of the American Antiquarian Society.
“Master Giving the Grand Masonic Word on the Five Points of Fellowship.” From Malcolm C. Duncan, Duncan’s Masonic Ritual and Monitor: or Guide To The Three Symbolic Degrees of the Ancient York Rite . . . ,” 3rd ed. (New York, [1866?]). Courtesy of the American Antiquarian Society.

To be sure, it was no simple task to rehabilitate men’s secrets in the wake of the Revolution. After all, the terrifying possibilities of an unmanning and “mysterious privacy” had been so compelling to the opponents of the aristocratic order and so politically mandatory that even one so self-consciously privileged as John Adams could see in men’s secret pleasures all the “levities, and fopperies, which are the real antidotes to all great, manly, and warlike virtues.” Take, for example, the difficulties faced by the august Society of the Cincinnati. An openly closed band of Revolutionary officers, who took their name from the Roman general famous for beating his sword into a ploughshare, the Cincinnati incited nationwide censure for what appeared as secluded, aristocratic privilege. Certainly the society’s proclivities for luxurious balls, their open consort with the most fashionable women, and their infuriating practice of limiting new members to first-born sons put them in the worst possible light for an early national cultural landscape still enamored with the fantasy of a simple and virtuous republic. And as crypto-aristocrats, a swelling opposition concluded, they were hardly men at all. To Mercy Otis Warren, sister of arch-Whig James Otis and one of the premier chroniclers of the Revolutionary era, the Cincinnati “follow[ed] the fantastic fopperies of foreign nations and . . . the distinctions acquired by titles, instead of the real honor which is the result of virtue.” They were “flattering themselves,” she later confided, or at least the “younger Class particularly the students at Law and the youth of fortune & pleasure.” Rage against these womanly pretenders erupted in mass meetings from Maine to South Carolina, an extended campaign of street politics punctuated by periodic petitions seeking the abolition (or at least supervision) of the order. Some American Cincinnati of esteem kept their distance from the erupting conflagration; George Washington himself, though accepting appointment as the Cincinnati’s first president, carefully steered clear of meetings and his fellow officers. He understood, perhaps better than most, the unsettling calculus of secrecy and manhood that defined the political culture of the Revolution. For the Cincinnati, however, even the association with Revolutionary heroes could not save their society from withering and persistent attacks from across the emerging United States.

If the Cincinnati failed to realize the great political weight of dark and unmanning secrecy, however, the committed membership of the Free and Accepted Order of Masons did not. Their attention bore considerable fruit, stabilizing the secret society for a period of unprecedented growth in the first decades of the Constitutional republic. Claiming lineage back to the First Temple in Jerusalem, though actually of 1720s origin, Masonry included many of the Cincinnati in their ranks. But these men represented only a tiny fraction of the overall membership scattered in lodges throughout the United States. Disclaiming the self-conscious elitism of the Cincinnati and asserting a relative openness of entrance into their secret brotherhood, Masons were a conspicuous presence in almost every sizable locality in the nation. Masonic lodges were filled with congressmen and senators, assemblymen and sheriffs, assessors, trustees, and constables to such a degree that some even accused the secret society of rigging entire state elections. And, in a moment as famous as it was poetic, the arcane symbols of the secret order were carved into the very founding institutions of the United States, quite literally in the case of the cornerstone of the United States Capitol building. Where the Cincinnati failed to successfully navigate the landscape of manhood and secrecy, Freemasonry proliferated. For the Masonic secret was not effeminate at all. It was, the fictive brothers told themselves and their critics, manly and patriotic, embodying the highest possibilities of the fraternal republic in the tight spaces that opened up between secretive men.

Disavowing the exclusivity and the affectations of the Cincinnati, Masons made no secret of their mysterious secrets—the secret name of God, some claimed, or the secret handshake, or the keys to the secret iconography. Indeed it was almost beside the point, the exact content of the secret. It was, instead, the secret itself that lay at the heart of the fraternal relationship. “The secret is,” wrote one committed Mason in defense of his order’s honor, “to fasten those bonds which ought to unite mankind.” This was, to the otherwise anonymous Benjamin Gleason, a “peculiar privilege”—not a privilege of secret power and sanguine indulgence but of simple fraternity, of fictive consanguinity, of the “appellation brother.” The advocates of manly secrets could hardly keep to themselves the fraternal joy that they felt in their bosom. One Pennsylvania Mason declared in assembly “for that strength which . . . is . . . a Band of Union among Brethren, and a Source of Comfort in our own Hearts.” In almost every Masonic account of the era the language is open, proud, ubiquitous. It is a language of love and tenderness that gave shape to that which could not be exposed, those most mysterious, most secret, most inexpressible spaces of intimate existence at the heart of confidential manhood. No wonder there were no women here. But of course this is much the point of the fraternity, of any fraternity. The secrecy of brotherhood made brothers; men achieved their highest emotional possibility in republican secrecy.

There was more to the liberation of the secret than a proud brother’s tender affections, however. In the eyes of the openly diffident, the reconstructed secret echoed with all the political strategies of the friends of the Constitution. After all, fraternal confidence bound “every party . . . to perform all he promised,” unfolding not as the absence of republican ideals but instead as contractual relationship. And, in this light, the fraternal contract reserved for men alone (in most cases) the privilege of entering into that sacred “obligation of contract,” which no power on earth, said Article One, Section 10 of the U.S. Constitution, could ever “impair.” (It would be good to remember here the preeminence of this “contract clause” in federal rights adjudication, stretching from the first Supreme Court invalidation of state law in the 1792 case Champion and Dickason v. Casey to become “for 150 years,” as one scholar has suggested, “the quintessential instance of individual rights.”) The value of men’s transcendent words defined not only manhood itself; it constituted the republic, or at least the republic in the eyes of the Madisonian partisans of “private rights.” True enough, though Masons asserted the potential of the secret word to make all strangers into brothers, only the more select could actually utter the inexpressible words; politicians, ministers, successful merchants—these men dominated the order. But this is precisely the point. For the slippage between private property and republican manhood underscored the entire project of reconstructing the secret in the image of men’s intimate exchanges. Property and propriety, succor and sociability come together to create a dream of republican liberation written in the vocabularies of friendship and trust, the foundational ethic for a rights order written in the rule of contract. This is the open secret, the secret of fraternal intimacy.

The world of fraternal secrecy, then, did not isolate men, as critics of the Bush administration suggest when they point out “Bush’s bubble” to describe his domain of the alienated and confidential. It brought men together in the pure and naked truth of men’s confidence. In this compact lay much of what men of ambition had already asserted—that “knowledge, as well as pleasure, must be conveyed by the intimate communication of a personal acquaintance, when the misleading luster of personal deeds is dispersed by free conversation, and nothing intervenes to prevent a clear view of men’s real character, properties, and temper.” (“I looked into his eyes,” to repeat Bush’s account of his meeting with Putin, “and got a sense of his soul.”) But the work of masculinizing secrecy also demanded, it seemed, that the vestiges of women’s effeminizing presence be fully and completely eradicated from the secret. Masonic men thus led a relentless campaign to reconstitute the existence of women under the transcendent domain of fraternal secrecy. After all, warned one 1790s defender of men’s sacred secrets, “A more amiable and more victorious invader of our secrets [than inquisitive men] is woman. Armed with beauty, she attacks us by endearment. Unequal to this charming encounter, we surrender our whole souls to be ransacked by her eager curiosity.” Such a view was commonplace, another writer opined without reservation, announcing the consensus opinion among his colleagues. “The evil,” this anonymous scribe penned in 1796, “is said to be more prevalent among the ladies”—a state of affairs that seemed to explain fully why “so many of the sex are averse to their Husbands being freemasons, as their curiosity . . . cannot be satisfied.” Other men were secretive, but only the Masonic secret had value. Even women could agree, or at least one could. “Were our sex admitted into the society, it would counteract the grand design, as we have generally too great a proportion of those delicate feelings, for our own happiness.” Insatiable and burdened with a riotous excess of uncontainable desire, all of these familiar echoes of Eve and the “forbidden apple” make their appearance, just as they did in anxious talk about the power of women to undo the works of men. Yet where earlier generations of fearful men may have burned insolent witches as the symbol of secret and unknowable terrors, the patriotically retiring displaced women entirely from the heart of the secret.

This is not to say that women disappeared from the Masonic imagination, as they have not disappeared from Bush’s domain of confidence. Secretary of State Condoleeza Rice remains a central figure, and Harriet Miers has been associated with the executive’s secret circle. It is just that, for men to associate their own virtuous patriotism with secrecy, women’s own secrets had to be stripped of their unnerving sensuality. In parable and second-hand story and outright admonition, Freemason journals swelled with tales of coquettes, of “beauteous ideot[s]” prattling their insipid, “trickling nonsense.” On this point, one might suspect, most American men would publicly agree. Benjamin Rush, consummate Whig and Mason, made quite clear the republican fear of fashionable women. “The first marks we shall perceive of our declension, will appear among our women,” the famous Pennsylvanian wrote in 1785. He continued, “Their idleness, ignorance, and profligacy will be the harbingers of our ruin. Then will the character and performance of a buffoon in the theater, be the subject of more conversation and praise than the patriot or the minister of the gospel.” As late as the 1840s, Masons thus gathered to denounce women’s “trifling accomplishments,” those “flimsy, airy, trifling, and unprofitable acquirements” of the coquette. After all, as one brother addressed his fellows, “the music of the churn, the Herculean wield of the mop, and the rattling of the dishes are far nobler employments for a young lady, than kicking up her heals at the sound of the merry viol, murdering the French language, of thrumming on the piano.” Sometimes the reformulation of women’s secrets was tantamount to de-sexing them. Secretary of State Rice, for one, has been the unhappy recipient of this sort of criticism. But only with the fearful specter of women’s own pleasures excised from the space of fraternal intimacies, it seems, could secrecy unfold as a central modality of men’s republican liberation.

 

"Wm. Morgan." From an original picture by A. Cooley (1829). Frontispiece, Elder David Bernard, Light on Masonry: A Collection of All the Most Important Documents on the Subject of Speculative Free Masonry . . ." (Utica, N.Y., 1829).
“Wm. Morgan.” From an original picture by A. Cooley (1829). Frontispiece, Elder David Bernard, Light on Masonry: A Collection of All the Most Important Documents on the Subject of Speculative Free Masonry . . .” (Utica, N.Y., 1829).

In this light, then, the confidence that George W. Bush has shown in his advisors might suggest something other than poor judgment. It might also suggest that the profusion of official claims of confidentiality may appear as assertions of trust, of patriotism, of resolute manhood. To be sure, secrecy’s suspicious opposition should be expected to recoil at such a novel political calculus. Attacks on the manliness of the secretive, after all, remained a staple of early republican oppositional discourse well into the nineteenth century. The sensational 1826 death of apostate Mason William Morgan was only the most famous opportunity to bring the light of publicity on the secretive Masons huddled “till past midnight, in the orgies of the lodge-room.” And such visions of perversion are not completely a thing of the past. To wit: those convinced of George W. Bush’s overwhelming need to hide his expertise in the homoerotic Satan worship of his Skull and Bones days—a thesis distinct from one forwarded by other critics who decry the president’s impulse to obfuscate his own part in the “pedophilia, drug trafficking and consumption, child pornography, bestiality, mind control, rape, torture, satanic rituals and human sacrifices” of a global “Judeo-Masonic” conspiracy. But the point of the reconstructed secret was not about fear, suspicion, or inverted sexuality. For the partisans of the enigmatic, the secret is about being politically born again in the presence of a brother, about resolve and faithfulness, about being a man.

Further Reading:

The secret has long held historians in its power, and they have responded with a half-century’s worth of study on the social and cultural meanings of hidden power and dark mystery. Richard Hofstadter’s The Paranoid Style in American Politics (New York, 1965) unfolds a tradition of political organization grounded in the psychic fears of loss of status. Thus these seemingly irrational outbursts against unseen forces that have punctuated the American past—whether they be Monarchists, banks, or Communists—unfold as a durable, almost peculiarly American political tradition. This mania for conspiratorial secrets, especially during Revolutionary times, did not necessarily mean that “American Revolutionaries [were] mentally disturbed,” as Gordon Wood tells us in his “Conspiracy and the Paranoid Style,” William and Mary Quarterly 39 (1982). The search for the secret could be an intensely logical act for partisans well schooled in the post-Newton landscape of law and causation where all actions must have a first cause. Markus Hünemörder’s The Society of Cincinnati: Conspiracy and Distrust in Early America (Oxford and New York, 2006) likewise offers a creative account of suspicion, though one that emphasizes political crisis and not epistemological crisis as the heart of the matter. Yet, despite these efforts to render the suspicions of secret conspiracies as evidence of deductive logic at work, psychic anxiety and social powerlessness remain fundamental to more recent investigations of the secret. For example, see Jane Parish and Martin Parker, eds., The Age of Anxiety: Conspiracy Theory and the Human Sciences (Oxford, 2001), Robert Allan Goldberg’s Enemies Within: The Culture of Conspiracy in Modern America (New Haven, 2001), and Mark Fenster, Conspiracy Theories: Secrecy and Power in American Culture (Minneapolis, 1999).

Other scholars have explored the proliferation of secret societies in the nineteenth century, focusing particularly on their social, political, and economic functions for men living in unpredictable times. Mary Ann Clawson’s Constructing Brotherhood: Class, Gender, and Fraternalism (Princeton, 1989), a product of the late 1980s, identifies fraternal societies as schools of sociability for an emerging commercial elite as well as refuges for men in an increasingly feminized culture of sentiment. Mark Carnes’s 1991 Secret Ritual and Manhood in Victorian America (New Haven, 1991) also emphasizes the remedial uses of secret societies, showing them as a creative refuge for the maintenance of a masculine self-consciousness in the face of late nineteenth-century economic and social revolutions. Most recent among influential works on secret societies is Steven C. Bullock’s 1996 Revolutionary Brotherhood: Freemasonry and the Transformation of the American Social Order, 1730-1840 (Chapel Hill, 1996). Revolutionary-era Freemasonry, here, served as a training ground for an early national ruling elite, providing a free and open “public sphere” where men of esteem could learn the liberality necessary for the republican statesman.

For examples of conspiracy theories about George W. Bush, see Texe Mars, Dark Majesty: The Secret Brotherhood and the Magic of a Thousant Points of Light (Austin, Tex., 2004) and Anthony C. Sutton, America’s Secret Establishment: An Introduction to the Order of the Skull and Bones (Waterville, Ore. 2003). Concerning George H. W. Bush’s secrets, see John W. DeCamp, The Franklin Cover-Up: Child-Abuse, Satanism, and Murder in Nebraska (1992).

 

This article originally appeared in issue 8.2 (January, 2008).


Joseph S. Bonica teaches history at St. Cloud State University in Minnesota. You may contact him at bonicajoseph@yahoo.com.




Leaves, Trees, and Forests: Frances Ellen Watkins’s Forest Leaves and Recovery

 

After perhaps my tenth reading of the e-mails about the rediscovery of Frances Ellen Watkins’s Forest Leaves from Britt Rusert, Anna Mae Duane, and then Johanna Ortner, I find myself actually and pretty much unconsciously pricing airfares. I want to hold Forest Leaves in my hands. That, my lizard brain is telling me, will make it real.

 

Portrait, “Mrs. Frances E.W. Harper,” engraving from The Underground Railroad: A Record of Facts, Authentic Narratives, Letters, &c., Narrating the Hardships, Hair-Breadth Escapes and Death Struggles of the Slaves in their Efforts for Freedom, as Related by Themselves and Others, or Witnessed by the Author, by William Still (Philadelphia, 1872). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
Portrait, “Mrs. Frances E.W. Harper,” engraving from The Underground Railroad: A Record of Facts, Authentic Narratives, Letters, &c., Narrating the Hardships, Hair-Breadth Escapes and Death Struggles of the Slaves in their Efforts for Freedom, as Related by Themselves and Others, or Witnessed by the Author, by William Still (Philadelphia, 1872). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

I don’t simply mean “real” in the sense of the authentication dance some folks deeply involved in African American literary history know well. I’ve done that necessary and always uneasy detective-style archaeology to be able to say that, yes, authoritatively, we can say that this person actually wrote these words; I know that, even when done with care and respect, this dance sometimes veers close to abolitionists clumsily prefacing texts written by formerly enslaved men and women.

I mean “real” in that holding this document in my hands will remind me that by luck or by chance or by faith someone (someones!) saved this collection of a young Black woman’s poetry. “Real” in that it will also force me to think again about how so many others (but, I wonder, just how many?) never knew about it, forgot about it, dismissed it, or willfully erased it from the record. “Real” in that it will make me ask again about how both social structures and individual privileges and choices shaped the circumstances of its near-loss.

And “real” in that dizzying, ghostly sense I’ve felt sometimes over the years, a sense of glimpsing what’s beyond our current knowing. (The moment that leaps to mind: closing my eyes and bowing my head after staring openmouthed at a “lost” chapter from Harper’s Sowing and Reaping in the American Antiquarian Society’s reading room.) “Real” in its powerful reminder that we must continually explore how much we do not know and why we do not know it.

That sense of reality is, of course, especially necessary here. Forest Leaves was so far from view that many scholars wondered aloud if it was apocryphal.

Some of the ways its rediscovery will change our conversations are obvious. Its individual leaves offer not only “new” locations of known poems but sometimes whole “new” poems. Among the former, the inclusion of “Ruth and Naomi” (a decade earlier than most critics’ placement) reshapes our sense of Harper’s approaches to the intersections of faith and gender. Among the latter, I’m especially excited about the range of Harper’s early poetry—from the romantic “Let Me Love Thee” to diverse faith-centered poems.

In addition to demanding close and careful reading, these new poems also push us to think more about the stories and experiences that shaped them. I find myself, for example, wondering about the mother imagined in “Yearnings for Home,” especially given the very little we know of Harper’s mother. (We’ve only recently learned—from a Dec. 15, 1871, Freedmen’s Bank record—that her first name was Sidney. Her maiden name, her husband’s first name, and the circumstances of their deaths when Frances Watkins was very young all remain unknown.)

The short “An Acrostic,” which veers toward sickbed/deathbed poetry, draws me especially because it shares a powerful faith and love that combine to offer hope to the “sister” whose name is spelled out in the first letters of the poem’s lines, Adel Martin. How, I’m wondering, did this poetic figure, literally sitting so close to the margins of nineteenth-century American poetry, connect to the Adel Martin listed in the 1850 Census of Baltimore’s Fourteenth Ward, whom the white census-taker quickly ticked off as 20 years old, an “F” (“female”) and an “M” (“mulatto”)? Listed as a “teacher”—like Harper’s uncle William Watkins and his four grown sons only a few blocks away in the Sixteenth Ward—this Adel Martin lived with her father Henry (a porter), mother Mary, and younger brother Alexander (also a porter).

I’m thinking not only about the poems, but their people, their places, their connections.

More broadly, the rediscovery of Forest Leaves extends our sense of Harper’s poetry back almost a decade, making her even more fully a chronological coadjutor of Frederick Douglass and Walt Whitman but also of figures like Ann Plato. It means that we need to rethink our common placement of the genesis of Harper’s earliest work in 1850s abolitionist circuits, and that, as Ortner suggests, we need to look much harder at free Black schools like that of Harper’s uncle, at Black churches and community groups, and at locations like antebellum Baltimore. It raises again fascinating questions, both aesthetic and material, about how (and how effectively) a free Black woman in that spatial and temporal location was able to enter print, to engage with American poetry, to be heard—and, of course, it demands that we think about who heard her and who didn’t and how and why.

I’m thus hoping that Forest Leaves finds its way into not only upper-division courses on African American literature, but American literature surveys and a host of settings beyond the academy. As much as we place Forest Leaves in rich dialogue with African American culture, we also need to think much more about the almost-conversations between Harper’s poetry and that by authors like Whitman, Dickinson, Sigourney, and Whittier and to more deeply study the factors in and after the nineteenth century that have stopped or lessened exploration of those intersections.

In this same vein, the listing of “James Young, Printer” begs us to ask whether Harper’s first extended poetic effort, in some ways like Harriet Wilson’s Our Nig more than a decade later, was a (partially) self-funded or patronage-funded entry into print. In this, we’ll want to think much about how different that entry was in both production circumstances and intended/potential audience from her abolitionist-stamped, Garrison-prefaced, Boston-published 1854 Poems on Miscellaneous Subjects, which garnered notice from both Frederick Douglass’ Paper and the Provincial Freeman and included poems that also appeared in The Liberator.

But Harper’s title begs us to remember forests, too, beyond these (wondrous) leaves and trees. The collection’s very existence is another weight added to what’s become an argument by accretion from scholars of early Black print: that some African Americans engaged in deep and only barely understood ways with print culture. It means, for example, that we must gently remind colleagues that we won’t know “what was African American literature” until we do much, much more looking. What other works by Harper have we not yet recovered? And what about texts by the growing chorus surrounding her?

This rediscovery is also a fresh reminder of the wide applicability of Frances Smith Foster’s words (on the recovery of women’s literature):

[F]irst I had to learn what women had actually written, what these women had written about and why, and what were the best methods by which we could best evaluate their writing. That in and of itself was a lifetime project, but added to that was the problem of how to make available to others the writing that I found inspirational, instructive, and absolutely necessary to understanding literature, history, and myself.

Paired with Foster’s last sentence here, the choice to republish Forest Leaves in a free, online scholarly venue calls on us to talk much more honestly and directly about the politics of access. Some of Harper’s other work remains behind paywalls, available only to tiny segments of the academy, almost completely left out of “big data” projects, and perhaps still unknown. More texts may exist in a range of repositories, and some may be found through expanding, correcting, and sharing cataloging information and metadata as well as rededicating resources to preservation efforts, especially at HBCUs, churches, and local organizations. My first e-mail to Johanna Ortner said, in part, “Your account reminds me of how often I have to tell myself not to accept the phrase ‘not extant’ and how often we must check and recheck possible locations for thought-to-be lost texts.” While I find great joy in the fact that she practiced this kind of hard re-looking, I continue to mourn the fact that we have created and perpetuated academic and information systems that demand such efforts.

Finally, this specific recovery offers an occasion to talk more about “recovery” writ large. I tend to emphasize a sense of “recovery” that is tied to the reclaiming of African American literature and history that has been lost or stolen, carelessly or willfully removed from our cultural record, but this discovery reminds me that recovery can also signify the (re)finding of material in plain sight, material not previously given the kind of “hard re-looking” discussed above.

I’ve heard rumblings from folks who worry that the phrase “the recovery of Black literature” suggests that the object was/is passive and has a sickness, a disease from which it might “recover.” This usage starts with the deeply true kernel of pain but then, I think, characterizes it incorrectly. Acknowledging the myriad ways white America has hurt and continues to hurt Black folks, including Black folks involved with print, is an essential first and ongoing step in African Americanist inquiry; recognizing that, as one of many modes of life-sustaining resistance, some African Americans created and shared works of great beauty and even joy in spite of and in the midst of that ongoing hurt should spark not only hope but concrete work for change. Calling the hurt a sickness or a disease conveniently removes fault and silently obliterates possibilities for truth, repentance, and reconciliation. There were and are agents who have wounded and continue to wound African Americans and African American culture, sometimes with deadly force. If there is recovery here, it is from inflicted damage.

We must remember, too, that such inflicted damage, like all violence, irrevocably hurts all involved. In this sense, American literature, culture, and ideals stand wounded because America has regularly asserted that some lives and literatures—especially Black lives and literatures—matter less than others.

This, it seems to me, is at the root of not only the loss and theft of Black cultural pasts but also the failures of scholars to actively look (again) and think through what we still have. And it is, of course, a central reason why a host of policies and practices allow assaults on African American life and culture without thought or care. In the broadest possible way, as John Ernest told me once, “I suppose . . . recovery means recovery of our basic mission as scholars, which means that we look for answers . . . and we do not take things at face value. . . . Recovery can also refer to a process by which we piece together the historical or interpretive frameworks we need for understanding. . . .”

This is what we do, what we must do—because, in short, there’s so much that needs “recovery” and needs it desperately.

Further Reading

Frances Smith Foster’s quoted language is from “The Personal is Political, the Past Has Potential, and Other Thoughts on Studying Women’s Literature—Then and Now,” Tulsa Studies in Women’s Literature 26:1 (Spring 2007): 29-38. Among several works by Foster that have shaped my thinking, see also “How Do You Solve a Problem Like Theresa?” African American Review 40:4 (2006): 631-645, and “A Narrative of the Interesting Origins and (Somewhat) Surprising Developments of African-American Print Culture,” American Literary History 17:4 (2005): 714-740. Crucial questions are also asked by Carla Peterson, “Capitalism, Black (Under)Development, and the Production of the African-American Novel in the 1850s,” American Literary History 4:4 (Winter 1992): 559-583; John Ernest, Chaotic Justice: Rethinking African American Literary History (Chapel Hill, 2009); Lois Brown, “Death-Defying Testimony: Women’s Private Lives and the Politics of Public Documents,” Legacy 27:1 (2010): 130-139; and the cluster of essays including and surrounding P. Gabrielle Foreman’s “A Riff, A Call, and A Response” in Legacy 30:2 (2013): 306-322 and Legacy 31:1 (2014): 58-77.

 

This article originally appeared in issue 16.2 (Winter, 2016).


A professor of English at Saginaw Valley State University, Eric Gardner is the author of Black Print Unbound: The Christian Recorder, African American Literature and Periodical Culture (2015), Unexpected Places: Relocating Nineteenth-Century African American Literature (2009), and a score of shorter works on early Black print culture.

 

 




On High: A Child’s Chair and Mather Family Legacy

 

As soon as we can, we’ll get up to yet higher principles. I will often tell the children what cause they have to love a glorious Christ, who has died for them.

A Father’s Resolutions, Cotton Mather (1663-1728)

Hung in an alcove high above the reference desk in the Reading Room at the American Antiquarian Society in Worcester, Massachusetts, Cotton Mather’s portrait is well positioned to exemplify Puritan authority (fig. 1). His majestic wig and black robe provide the visual idioms signaling his stature. He keeps good company. Positioned at the left of an ensemble of five portraits, Mather’s likeness faces that of his father, the Reverend Increase Mather (1639-1723) (fig. 2), and he is flanked on the right by his nephew the Reverend Mather Byles (1707-1788). His younger brother, the Reverend Samuel Mather (1674-1733), hangs to the left of Increase. This group of major Mather clergy is anchored at its center by the eminent Governor John Winthrop (1587/88-1649). Cotton Mather’s portrait, painted by Peter Pelham in 1727, represents a man whose achievements were well known beyond his role as a prominent New England clergyman in the Congregational church. Mather’s 1728 obituary in The New-England Weekly Journal stated: “He was perhaps the principal Ornament of this Country, and the greatest Scholar that was ever bred in it.” Mather now serves as an ornament of the Reading Room surrounded by historical documents and American-“bred” treasures. He was the author of over 400 publications, and his work in science and medicine earned him election as a Fellow of the Royal Society in London. No wonder scholars glancing up from their labors toward Mather’s seemingly benevolent countenance sometimes feel a bit intimidated.

If Mather’s portrait inspires reverence, another object associated with him helps bring him down a bit from his lofty position: his childhood highchair (fig. 3). Also on view at the AAS (but not within Mather’s gaze), the Mather family highchair stands just 38.5 inches high on thick turned posts raked for stability (fig. 4). Even at first glance, the chair’s missing elements are apparent. One pommel or handgrip has lost its original hefty girth to breakage. Holes in the front posts signal the former presence of a footrest—no doubt broken off from continual use (fig. 5). Other holes drilled through the side of each front post suggest that a wooden restraining rod was inserted through the top of the posts to help hold a child in place (fig 6). The rod could be removed to extract the child. It is easy to imagine such a device lost to time.

 

1. Cotton Mather (1663-1728) by Peter Pelham (1697-1751), oil on canvas, 1727. Gift of Josephine Spencer Gay, 1923. This portrait is currently on view at the AAS. The portrait of Cotton that Hannah Mather Crocker donated in 1815 is currently in storage and is a c. 1750 copy of the portrait by Pelham. Courtesy of the American Antiquarian Society, Worcester, Massachusetts
1. Cotton Mather (1663-1728) by Peter Pelham (1697-1751), oil on canvas, 1727. Gift of Josephine Spencer Gay, 1923. This portrait is currently on view at the AAS. The portrait of Cotton that Hannah Mather Crocker donated in 1815 is currently in storage and is a c. 1750 copy of the portrait by Pelham. Courtesy of the American Antiquarian Society, Worcester, Massachusetts

 

(There is perhaps nothing quite so humanizing as artifacts of childhood. The family cradle used for Emily Dickinson as an infant was reserved by her niece, Martha Dickinson Bianchi, for viewing along with other objects in a special room in her home. Visitors making pilgrimages to Amherst, Massachusetts, to learn more about the elusive poet in the early twentieth century were not disappointed by such tangible evidence that Dickinson was, in fact, mortal.)

 

2. Increase Mather (1639-1723), anonymous, oil on canvas, c. 1720. Gift of Hannah Mather Crocker, 1815. Courtesy of the American Antiquarian Society, Worcester, Massachusetts
2. Increase Mather (1639-1723), anonymous, oil on canvas, c. 1720. Gift of Hannah Mather Crocker, 1815. Courtesy of the American Antiquarian Society, Worcester, Massachusetts

 

Also erased with time is the chair’s original painted surface. Numerous descriptions of the chair indicate that the posts were decorated by the turner with lightly incised lines. Most of these lines were not in fact for decoration but were vergier marks, scribed to mark the placement of the seat lists, arms, back rails, and stretchers. These marks aided the turner in assembling the chair. The wood was painted—probably black, judging by traces—so the scribe lines would not have been visible in its original state. The only incised lines that might have been visible as decoration through the paint would have been those on the spindles and tiered finials.

Despite its somewhat rough appearance, the chair holds its own next to the likes of John Hancock’s monumental and elegant furnishings positioned nearby. The highchair has its own charm and aesthetic appeal—the chair’s turner, for instance, tapered the legs toward the base to visually offset the raked frame. Yet it is the chair’s illustrious family origins that give it resonance and makes us take note. This seemingly humble turned highchair is the earliest documented furniture gift to the American Antiquarian Society, which was founded in 1812 by Isaiah Thomas. In 1814, Cotton Mather’s granddaughter, Hannah Mather Crocker (1742-1829) of Boston, worked out an arrangement with Thomas that brought some 900 volumes from the Mather family library to the AAS as well as manuscript material that established the core of the extensive Mather Family Papers. Crocker donated several Mather family portraits along with the highchair in 1815, giving the chair solid Mather family provenance.

For many viewers, the mere thought that Cotton Mather was once a child gives them pause—if not fodder for the imagination. Inspired by the chair, a recent fellow at the AAS elaborated on his mental image of an infant Cotton Mather in a feature for the blog Religion in American History. He imagined young bewigged Cotton delivering a lengthy monologue from the highchair:

 

Here, my imagination wandered, to seeing young Cotton in the high chair. I assume he still has a very large powdered whig [sic] on. In asking for milk, his verbosity and prolixity begins early … “Mother, whereas milk is good (just like salt is good), and whereas I trust in your benevolence to your children, wouldst thou kindly fill my pr’offered goblet with some of ye yonder milk? [continuing for several more paragraphs.]

 

3. Mather family highchair, c. 1640. Gift of Hannah Mather Crocker, 1815. Courtesy of the American Antiquarian Society, Worcester, Massachusetts
4. Mather family highchair, side view. Courtesy of the American Antiquarian Society, Worcester, Massachusetts

Beyond providing the inspiration for imagining an icon of religious rectitude as a child, what does this rare example of seventeenth-century furniture yield? What stories can it tell? The mere fact that it survives is a story of Mather family lore and legacy. Family legend maintained that the chair had been made in England and traveled to America with the family. When it was acquired from Hannah Mather Crocker in 1815, it was described in the AAS donor and donations book as “A small Chair, made in England, in the Reign of King James I for Richard Mather, (first Minister in Dorchester, Mass.) to set at Table when a young child, and brought by him to this country at its first settlement.” An early handwritten label (at some point erroneously identified as in Isaiah Thomas’s hand) prepared for display with the chair reads: “This chair was brought to America by Richard Mather, grandfather of Cotton Mather in 1635.” When Abiel Holmes visited “the antiquarian room” in 1822 he was told (or at least inferred) that it was the chair in which Richard Mather sat on his passage to New England. Holmes felt sure this could not be true and wrote to Hannah Mather Crocker to clarify. Holmes later thanked her for her “authentick account of the Mather’s small chair.” Hannah’s account of the chair (probably the same she sent to Holmes) was recorded in her reminiscence in the 1820s:

Richard sat in it when a child. He was married in 1624; his children that were born in Europe sat in the chair before he came to this country—Samuel, Timothy, Nathaniel, Joseph. The last named sat in it when he brought the chair to America. Eleazer and Increase were born in America. They both sat in the same chair. The chair descended to Increase and all his children sat in the same. It came in line to Cotton Mather. His children all sat in the same. It descended to his son Samuel, and his children sat in the same chair. His youngest daughter [Hannah, the writer of these notes] was the only child that had any children, and she has had ten children sit in the chair and several grandchildren.

By Hannah’s count some forty Mather children sat in the highchair. Aside from the unlikely event that a chair subjected to the use of so many youngsters would survive, we now know that Hannah’s account is not quite accurate. The chair was not made in England but in New England and therefore could not have traveled across the Atlantic with Richard. Microanalysis conducted by the late Benno Forman indicates that the chair was made primarily of poplar, an American wood often used in the furniture of eastern Massachusetts. Thus the highchair, made of American rather than European wood, was not made for Richard Mather’s own use as a child but for his children or grandchildren. If it was purchased by Richard and Catherine Mather following their arrival in Massachusetts in 1635 for their sons Eleazer or Increase, then it was likely made in Dorchester where Richard had accepted the ministry of the North Church. If it was commissioned by Increase and Maria Mather when their son Cotton was born in 1663, then it was probably made in Boston, where Increase was minster of Boston’s North Church from 1664 to 1723. There are so few surviving examples of chairs of this period that it is difficult to judge stylistic difference even a generation apart. A similar example, however, exists at the Art Institute of Chicago.

That chair has been similarly dated to 1640/70 and has a history of ownership in the Sumner family, who emigrated from England to Dorchester in 1636. It is plausible that both chairs were made in or near Dorchester in the late 1630s.

In her genealogical account of the Mather family written in the early 1820s, Hannah noted that she “wished the chair to be deposited in the antiquarian rooms with the venerable shades, that those who come after her may look to the rock from whence they were hewn, and find an ancient seat to rest any chip of the old block.” Certainly no adult Mather descendant could even begin to squeeze into this “ancient” seat, yet Hannah chose the highchair to symbolically represent “the rock from whence they were hewn.” Could it be that because the chair was gender-neutral it could represent more than the male Mather clergy seen in the portraits? The highchair had a direct connection to male and female Mathers alike. In Hannah’s version of what family members used the chair, at least 18 girls and 15 boys could claim sitting rights. Indeed, the chair may have been especially important to Hannah’s own claim as the remaining chip of the old Mather block descending directly from Increase: “I am the only little limb and the only grand child of Cotton.”

 

5. Mather family highchair, hole in lower front post for former footrest. Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
6. Mather family highchair, holes in top of front posts for restraining rod. Courtesy of the American Antiquarian Society, Worcester, Massachusetts

 

Hannah Mather Crocker, published author and public figure, is best known for what is considered the first book on women’s rights in America. In Observations of the Real Rights of Women, with Their Appropriate Duties, Agreeable to Scripture, Reason and Common Sense (1818), she argues for the intellectual equality of women and promotes a vision of women’s informal political participation. Crocker, long committed to the advancement of women, founded a Masonic lodge for women in 1778 based on the all-male lodges that excluded women. She also helped found in 1813 the School of Industry for poor girls in the northern district of Boston. Excluded from a career in ministry due to her sex, Crocker nevertheless wrote sermons and donated a number of her theological writings to the AAS during the same years that she donated the Mather library, the portraits, and the highchair. Given her interest in gender equality and the education of underprivileged girls, it seems fitting that Crocker would include the highchair as part of the family legacy for “any chip” of the old block.

Today the highchair is primarily identified with Cotton Mather, and there is little doubt that he did indeed sit in it. It is also likely that it was used by his children. His own writings suggest that his children may have been entertained by stories from the Bible while held captive in the highchair:

I will early entertain the children with delightful stories out of the Bible. In the talk of the table, I will go through the Bible, when the olive-plants about my table are capable of being so watered. But I will always conclude the stories with some lessons of piety to be inferred from them.

A Father’s Resolutions, Cotton Mather (1663-1728)

While the use of the chair as a station for Biblical stories seems appropriate, physical evidence indicates that the chair may also have aided in getting Mather children both spiritually and literally upright and beyond the danger zone of early childhood. Wear along the rear posts and on the ball turnings of the tiered finials are telltale signs of the chair’s use as a walker (fig. 7). The practice of flipping the chair on its back (or its front) so a child learning to walk could push the chair along for stability was not uncommon. Excessive abrasion on chair posts (though not on this one) may indicate that chairs were even tipped for use to stabilize youngsters learning to ice skate. The use of chair backs as supports for the rods used for dipping candles and for holding quilting frames in the early nineteenth century are additional examples of the multiple functions that chairs served in early American homes.

 

7. Mather family highchair, wear on back of finial and post suggesting the chair’s use as a child’s walker. Courtesy of the American Antiquarian Society, Worcester, Massachusetts
8. Mather family highchair. Rectangular tenons on the chair point to the likelihood of a former panel seat. Grooves on the inside of the seat lists (not visible here) prove that the original seat was wooden. Courtesy of the American Antiquarian Society, Worcester, Massachusetts

 

Other indications of wear and use suggest alterations brought about by generations of use by Mather children. The ill-fitting top rung on the back appears to be a replacement. It also seems that the side stretchers have been replaced, perhaps after breakage. The existing stretchers simply do not show the wear that one would expect for a chair of this age. The rear stretcher has also been rotated with three holes facing downward, suggesting that the back could have potentially once held spindles matching those on the front. A more likely explanation though is that the maker made an error in drilling the holes (one appears unfinished) since the upper seat rail does not have corresponding holes.

While previous studies of the Mather family highchair assert that there is no indication that the chair ever had a board seat, close inspection shows otherwise. The rectangular tenons on the front and rear seat lists that protrude through the posts at the side are clues that the chair was likely constructed to support a wooden seat (fig. 8). But it is the grooves on the inside of the seat lists (under the rush) that leave no doubt that the chair originally had a panel seat, replaced with rush at some later point during the chair’s life. Panel seats were thin, and this one probably shrank from the grooves or split from use. The rush seat was also likely replaced several times given the generations of Mather use (fig. 9). Chair bottoms made of rush or flag, wood splint, or braided corn husk necessarily wore out because of their critical functional role. Chair seating in New England was typically an anonymous task carried out by marginalized members of society—poor, juvenile delinquents, elderly, often Native American, and female. It is easy to imagine Hannah recruiting one of the poor girls from the newly opened School of Industry to give the chair a new seat before donating it to the “antiquarian rooms with the venerable shades” in 1815. It may have been at this time, too, that Hannah had the well-used chair frame cleaned of accumulated grime and/or cracked paint.

The highchair’s story is more than a tale of how the object was made or how it has changed physically over time. It is also about how it has been perceived and interpreted as a relic of the Mather family as well as a symbol of craftsmanship and simplicity from America’s colonial past. In the early twentieth century it was the chair’s quaint appearance that appealed to Esther Singleton (The Furniture of Our Forefathers, 1900), Frances Clary Morse (Furniture of the Olden Time, 1902), and Wallace Nutting (Furniture of the Pilgrim Century, 1924). Each of these publications includes both an image and description of the Mather highchair. Indeed, Wallace Nutting describes the highchair as “remarkably quaint.”

While the chair’s association with Cotton Mather gives it status as an object, it is the lessons associated with Hannah Mather Crocker’s role in preserving the chair that give it meaning—and perhaps help bring Cotton down a bit from his pedestal. For Hannah, the highchair served as the touchstone of her family—”venerable ancestors for four generations”—both male and female. The idea that so many Mathers sprang from that humble seat gave it a narrative beyond its function as a highchair. That the material memories of youth and family were significant to Hannah is evidenced in the first two stanzas of her poem “To My Birth Place,” written in 1818 and published in the Franklin Monitor (Charlestown, Mass.), March 18, 1820:

How sweet are those scenes to my memory dear,
Such scenes as I [ne’er] can forget.
And as I’m viewing thee drops the sad tear
To leave thee how hard is my lot.
I love the dear spot where my infancy dawn’d,
Where my eyes first [saw] the light.
I love too that chamber where I often [have] mourn’d
But sweetly have slept all the night.

We may never know what turner or turners labored to build the chair, who reworked the seats, who broke the footrest, or how many Mather youngsters pushed the chair on its back as a walker, but the chair’s survival allows us to consider not only the family who used it but also the hands that fabricated it and the many stories imagined and created for it. The stories are intertwined and help us better understand the intersection of users, makers, and memory-makers of what has become an iconic and evocative object.

 

9. Mather family highchair. The rush or flag seat currently on the chair was probably reseated more than once during the lifetime of the highchair. Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
9. Mather family highchair. The rush or flag seat currently on the chair was probably reseated more than once during the lifetime of the highchair. Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

 

Acknowledgments:

Thanks to AAS Curator of Manuscripts Tom Knoles for assisting with materials in the Mather Family Papers. The insights of Roger Gonzales, furniture conservator, were most welcome in analyzing the chair. Thanks, too, to AAS-NEH fellow and colleague, Neil Kamil, for his encouragement and interest in the Mather highchair. Much appreciation and thanks goes to editors Sarah Anne Carter and Ellery Fouch for their very helpful comments. Thanks also to Paul Erickson, director of Academic Programs, AAS, for suggesting the topic in the first place.

Further Reading:

For more on the Mather portraits see Lauren B. Hewes, Portraits in the Collection of the American Antiquarian Society (Worcester, 2004).

Publications that include the Mather highchair beyond those mentioned in the text include the following: Benno M. Forman, American Seating Furniture 1630-1730 (New York, 1988); Jonathan L. Fairbanks, Robert F. Trent et al., New England Begins: The Seventeenth Century (Boston, 1982); and Wendell D. Garrett, “Furniture Owned by the American Antiquarian Society,” The Magazine Antiques, 1970.

Hannah Mather Crocker’s Reminiscences and Traditions of Boston has recently been published for the first time after being housed in the New England Historic Genealogical Society archives for over 130 years. See Eileen Hunt Botting and Sarah L. Houser, eds. Reminiscences & Traditions of Boston (Boston, 2011).

For more on the marginalized members of society working at chair bottoming, see Nan Wolverton, “Bottomed Out: Female Chair Seaters in Nineteenth-Century Rural New England,” in Rural New England and Furniture: People, Place, and Production (Boston, 1998).

 

This article originally appeared in issue 13.4 (Summer, 2013).


 




The High Place: Potosi

 

 

Baltimore | Boston | Charleston | Chicago | Havana

| LimaLos Angeles | Mexico City | New Amsterdam | New Orleans
Paramaribo | Philadelphia | Potosi | Quebec City | Salt Lake City
Saint Louis | Santa Fe | San Francisco | Washington, D.C.

 

 

On its coat of arms, in the late sixteenth century, appeared the following:

I am rich Potosi, Treasure of the world. The king of all mountains, And the envy of all kings.

Its boast was justified; “rich as Potosi” would quickly become a byword for wealth and splendor throughout the premodern world. As late as 1806, and as far away as rural Massachusetts, local artisans might begin a complaint against the town fathers: “[They would] have you believe that when you entered the sandy plain of Dedham, you are upon a Potosi.”

What, then, was this Potosi?

The key to its remote beginnings lies buried in the tectonic plates that shaped the South American continent and the Andes Mountain range. One mountain, in what is now southern Bolivia, was graced by these subterranean forces in a singular way. Though not especially high or otherwise conspicuous, it held within its conical flanks a silver lode of extraordinary size and purity.

And there it sat when the first human settlers–ancestors of the present-day Andean natives–arrived in the region roughly twenty thousand years ago. Millennia passed, societies rose and fell, till around 1200 A.D.–when first the Aymara, later the Inca, created large empires nearby. At some point the site was acknowledged, and perhaps named. In fact, the linguistic origins of Potosi are not known; but, according to one persistent tradition, it was an Aymara (or Quechua) word meaning “high place.”

The native peoples apparently mined its silver from time to time, but not in any extensive way. Then, in the 1540s, as Spanish colonizers pushed south following their conquest of the Inca, everything about Potosi changed. A three-hundred-foot outcropping of silver ore, high on the mountain’s western slope, suggested what lay underneath; by 1545 Spanish miners, and some Indians too, had begun tearing it away.

 

Inset of Potosi on Hermann Moll, Map of South America. Courtesy of the John Carter Brown Library at Brown University.
Inset of Potosi on Hermann Moll, Map of South America. Courtesy of the John Carter Brown Library at Brown University.

From then on, for half a century, the boom around the cerro rico (rich hill) developed fantastically. In 1547 Potosi’s population was about 14,000, in 1571 perhaps 40,000, by 1600 at least 150,000. This raised it to the demographic level of the chief capitals of Europe and Asia (London, Amsterdam, Canton, Tokyo), and made it by far the largest human community in the Western Hemisphere. Moreover, its population formed an astonishing, unprecedented mix. A 1611 estimate included 3,000 Spaniards, 40,000 non-Spanish Europeans (French, German, Italian, Portuguese, English, among others), 35,000 Creoles (American-born, many of mixed-race parentage), 76,000 Indians (themselves representing numerous different ethnic and cultural backgrounds), and 6,000 Africans (nearly all held as slaves by white Potosinos).

Through all this growth, silver was the magnet, the engine, the driving passion, the dazzling reward. Mining spread quickly from the original Discovery Lode, to other barely concealed veins encircling the mountain’s upper half, to ever-deeper recesses within its base. At first, and for at least twenty-five years, Indians proved most adept with the technology involved. Traditional Inca smelting practice yielded a more effective separation of silver from adjacent “residuals” than anything European refiners had devised. According to one early observer, fifteen thousand Indian wind-ovens in full operation glowed like stars on the slopes of the High Place each night.

But around 1570 the technology, the economics, and the labor system were abruptly transformed. It was then that a new refining technique, based on the chemical interaction of silver ores with mercury, came to Potosi. This, with the concurrent discovery of large mercury deposits not far to the west, soon made native wind-ovens obsolete. Meanwhile, too, Spanish authorities, acting on the direct orders of the king, moved to reorganize the entire industry. From the start, Potosi silver was subject to a duty of “the royal fifth,” which by now had become a mainstay of public finance (in some years approximating 25 percent of total Crown revenues). As on-the-ground ownership passed rapidly into the hands of Spanish and other European entrepreneurs, they, in turn, came under much-tightened supervision by the state. And, with output reaching new heights, Indian labor–especially in the first, most difficult and dangerous stages of underground extraction–became ever more crucial.

At precisely this point the viceroy of all Peru, Don Francisco de Toledo, visited Potosi and installed a system of draft labor known as the mita. Indian communities for hundreds of miles across the altiplano would henceforth be required to send an annual complement of workers to the mines. (The basic principle was one-seventh of the adult male population in each village per year.) These mitayos would supply about half of the mineowners’ labor need; they earned a small wage, but were otherwise hugely exploited.

Indeed, from the natives’ standpoint these changes were catastrophic–even genocidal. Labor conditions in the mines were so harsh that many sickened and died, especially from silicosis, or black lung disease, within months of their arrival. At some point the cerro acquired a Quechua name meaning “the mountain that eats men”: the total of mining deaths has recently been estimated in the hundreds of thousands. Another long-term effect of the mita was to reshuffle–in some cases, to depopulate–the surrounding native sites, as more and more Indian men fled its spreading dragnet.

What would a visitor to Potosi–in, say, the year 1600–have seen?

Its physical appearance combined elements of classic boomtowns with the extravagantly mannered Baroque culture of late medieval Spain. The city was divided by a large canal, known simply as the ribera and itself part of an elaborate waterway grid providing both power and transport for local refineries. To the south, athwart the mountain’s lower slope, was a maze of byways and ramshackle housing for the native population–mitayos, free workers, and their families. On the other side stood the heart of the Villa Imperial, with its main plaza at the center, and streets radiating out in a regular pattern of rectangular blocks. There were lesser plazas, too, including one that housed a sprawling public market. There were fine churches, monasteries, and convents, furnished with brilliant religious objects in local silver. On the outskirts, there were large haciendas built by the city’s elite.

A visitor would surely have noticed the harsh climate (even in summertime) and thin air (at more than thirteen-thousand-feet elevation). But even so–and this would most of all impress him–the city vibrated with intense, incessant activity. Mining and refining were obviously the core of the local economy. But around this core swirled a kaleidoscope of everyday commerce; indeed, Potosi made a prime example of what some historians now call the “Catholic capitalist ethic.”

Alongside the army of mine-workers could be found artisans and tradesmen of every sort: blacksmiths, carpenters, masons, stonecutters; spinners, weavers, and tailors; suppliers of firewood and charcoal; grocers and vintners; carters and freighters; herders (for thousands of llamas and other essential pack animals); jewelers, barbers, hat makers, and scriveners–to mention only the leading categories. Atop this multi-layered pyramid stood a cadre of merchants and mine owners (sometimes, not always, the same people). They, in turn, were linked to commercial arteries stretching far beyond Potosi–to other parts of Peru and the wider New World, to the Spanish metropole (especially its administrative and mercantile hub at Seville), to the major trade-marts of Europe, to Pacific ports like Manila, and, not least, to the great urban centers of the Far East.

The export of each year’s silver output was itself an enormous enterprise–starting with a three-week journey by pack-train through the mountains to the coastal ports of Arica and Callao–thence by ship to the western shore of Panama–again by land across the jungle-shrouded isthmus to the Atlantic–back on the sea to Havana–there to meet the famous galleones of the annual “treasure fleet.” The same process, in reverse, would bring the goods of the outside world to Potosi. An early description listed “silks of all sorts, stockings, swords [and] clothes from . . . Spain; rich linen and knitted goods from Portugal; textiles, embroideries . . . and felt hats from France; tapestries, mirrors, elaborate desks . . . and laces from Flanders; steel implements from Germany; paper from Genoa; satins from Florence; sacred paintings from Rome; crystal glass from Venice; grain, ivory, and precious stones from India; diamonds from Ceylon; perfume from Arabia; rugs from Persia, Cairo, and Turkey; spices from the Malay peninsula; white porcelain . . . from China; Negro slaves from the Cape Verde Islands and Angola; rich cloths from Quito, Riobamba, Cuzco, and other provinces of the Indies”–and so on. (In fact, this was just a sampling.) Moreover, the traffic into Potosi necessarily included huge quantities of food and drink produced all over the altiplano and in the lowlands on either side.

A visitor might also have glimpsed the local underworld: dozens of gambling-houses; hundreds of prostitutes; con men, swindlers, thieves, and petty criminals. He would likely have sensed the brittleness of organized society, and a pervasive intimation of danger. Ethnic rivalries, within this uniquely polyglot population, simmered ominously and occasionally flared into violence. Moreover, the traditional Iberian code of honor, machismo, encouraged dueling and other forms of personal conflict. Everything in Potosi seemed outsize and extravagant, even human psychology.

At the height of its undeniable grandeur Potosi was, in the words of a leading scholar, “the crucible of America.” The stream of silver emanating from its mines encircled the globe. It had much to do with a famous “price revolution” that reshaped the conditions of life throughout seventeenth-century Europe. And if the origins of capitalism–that notoriously protean economic force–can be tied especially to the same period, then the High Place deserves principal credit.

But by about midcentury the crest was reached, and Potosi began a long, slow decline. Indeed, as early as the 1620s the city experienced periods of intense crisis–first, in a series of gang-style “wars” pitting local Basque miners against their Castilian counterparts; then, from devastating floods (always a hazard with the precarious, mountain-based water system). The 1650s and ’60s brought other problems, chiefly from fraud in the silver trade itself. And, all along, the best of the original lodes were successively exhausted; as a result, mine-shafts grew longer, costs rose, yields shrank. By 1700 Potosi’s population had dropped to sixty thousand, its annual silver output was down by two-thirds, and its once-lavish physical layout showed unmistakable signs of decay. In 1736 the greatest of its many chroniclers wrote despairingly: “Everything is finished, all is affliction and anguish, weeping and sighing. Without doubt this has been one of the greatest downfalls ever.”

In fact, however, the city survived, albeit on a much reduced scale. And the cerro rico still yielded a quotient of underground treasure. It was there when Bolivar arrived in 1825 to complete the long struggle for South American independence. It is there today; indeed the past century has brought it a modest revival. Mining remains important; with the silver long since scoured out, attention has shifted to other minerals–tin, lead, zinc, copper. But “rich as Potosi” seems, in light of present conditions, a bitter joke. The city is as poor as it once was prosperous, and workers continue to be “eaten” every day. The cerro itself resembles a giant honeycomb, whose open cells bear mute testimony to its gaudy–and tragic–history.

What, then, was this Potosi? Nothing less than a place that redirected (and cruelly foreshortened) countless lives, reorganized (or destroyed) whole cultures, financed a vast empire, transformed economies, energized America, changed the world.

Further Reading: A good introduction to this subject can be found in Lewis Hanke, The Imperial City of Potosi: An Unwritten Chapter in the History of Spanish America (The Hague, 1956). See also: Tales of Potosi: Bartolome Arzans de Orsua y Vela, edited, with an introduction by R. C. Padden, translated from the Spanish by Frances M. Lopez-Morillas (Providence, R.I. 1975); and Peter Bakewell, Miners of the Red Mountain: Indian Labor in Potosi, 1545-1650 (Albuquerque, 1984).

 

This article originally appeared in issue 3.4 (July, 2003).


John Demos, professor of history at Yale University, is the author most recently of The Unredeemed Captive: A Family Story from Early America (New York, 1994). He is currently preparing a book-length study of colonial Potosi.




What is Evans-TCP?

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The Common-place Web Library reviews and lists online resources and Websites likely to be of interest to our viewers. Each quarterly issue will feature one or more brief site reviews. The library itself will be an ongoing enterprise with regular new additions and amendments. So we encourage you to check it frequently. At the moment, the library is small, but with your help we expect it to grow rapidly. If you have suggestions for the Web Library, or for site reviews, please forward them to the Administrative Editor.

 

Molly O’Hagan Hardy serves as the Digital Humanities Curator at the American Antiquarian Society under a public fellowship from the ACLS. She holds a PhD in English from the University of Texas at Austin.

Molly O’Hagan Hardy
What is Evans-TCP?

Evans TCP

Evans-TCP was a partnership among the Text Creation Partnership (TCP), NewsBank/Readex Co., and the American Antiquarian Society (AAS) that, between 2003 and 2009, created almost 5,000 accurately keyed and fully searchable SGML/XML text editions of early American printed books and pamphlets. The impetuses behind this collaboration were manifold: to increase the readability of early American texts, to make full and corrected texts available for digital projects, and to make searching more accurate because the texts have been corrected. In other words, actual people have typed every word of the selected texts, rendering a much higher degree of accuracy than the optical character recognition (OCR) software that Readex relies on to transform the scans of pages into words. Not only are searches of such texts more reliable, but through Evans-TCP, a user can see the keyed-in text that she searches. When working in the Readex database, a user sees only the image of the original text that has gone through OCR software, but not the text that is being searched. In contrast, the views of the page images are lost in Evans-TCP, but the text is all there. Moreover, in Evans-TCP, a user has access to the XML file, the keyed and encoded texts. Evans-TCP offers a full explanation of its encoding practices, which for the most part are light and invite additions for scholarly digital editions. One caveat about Evans-TCP encoding: for those interested in illustrations of early American texts, it is worth noting that the encoding of images has been minimal. Editor Sarah Winger explains, “This is essentially a compromise: the primary objective for TCP is to create searchable texts. However, we recognize that illustrations, too, are important to a text and can add meaning. The editors account for this by notifying viewers that an illustration is present by capturing useful text associated with it, and by describing it when feasible.”

How can I find out which early American texts are included in the TCP?

In consultation with a number of interested parties, AAS selected which titles within the date range of 1640-1800 would be chosen for Evans-TCP. Needless to say, this selection process was a tricky one. In 2004, a group of ten professors from across the country; eight librarians from AAS, Yale University, the University of Minnesota, and the Boston Library Consortium; two members of the TCP staff; and two Readex staff met to discuss how the selection process would work. The group decided that Evans-TCP would include only first editions unless there was a reason to do otherwise, and that certain categories of imprints would be excluded (e.g., almanacs, heavily illustrated works, music, and non-English language imprints). Works were drawn from selective bibliographies, including Charles Evans’s American Bibliography and Clifford Shipton and James Mooney’s Short-Title Evans, and Jacob Blanck’s Bibliography of American Literature. The following subject headings were also used to select titles from the AAS catalog: Blacks as Authors, Currency/Money/Banking, Indians, Preaching, Salvation, Slavery, Society of Friends, Trials, and Women as Authors. And the following genre headings were used to select titles from the AAS catalog: Anthologies, Broadsides, Captivity Narratives, Memoirs, Novels, Sermons, Songsters, Travel Literature, and Treatises.

The Evans-TCP page offers a number of search options to navigate through these titles: simple, Boolean, proximity, citation, and browsing. The searching is fairly intuitive, but if you need help, check out these instructional videos (though they were creating for EEBO-TCP, the interface is pretty much the same). The browse function is an especially useful way to navigate the collection; browsing can be organized by author’s last name or by title of the work, and it is a good way to get a sense of what is there.

The AAS general catalog is another way to find texts in Evans-TCP. On the upper right side of the screen in an AAS catalog record a user will see a link to any title included in Evans-TCP. When conducting a keyword search in the AAS General Catalog, include “Evans TCP” as a phrase to generate a complete list of records with such a link in it. Or, include other search terms to find out if imprints you are interested in are included in Evans TCP.

Who can access the TCP and how does access work?

This is the really great news: as of June 30, 2014, anyone anywhere has access to the Evans-TCP texts. As was mentioned above, TCP welcomes requests for source files for individual texts, or the whole corpus of its titles. After the June release date, anyone will be free to access and make use of these raw files through an online directory where they can be downloaded. Rebecca Welzenbach, TCP outreach librarian at the University of Michigan, explains, “Our intention is to make them available in such a way that people can find and download them without having to come through us.” Welzenbach does offer one reminder: although TCP includes links to the Readex/Newsbank page images, these will not be publicly available. The TCP makes XML encoded transcriptions, not the whole database, available. It is, however, transcriptions such as these upon which so much digital humanities work from the early modern period to the nineteenth century relies.

What can I do with Evans-TCP texts?

Because the Evans-TCP texts include only about 5,000 imprints before 1820, its corpus is less than ideal for large-scale text mining projects, but it could still be used for single text or author data analysis, or the building of digital scholarly editions, or for pedagogical purposes (many of the titles in Evans-TCP have not been republished in modern editions for the classroom). But we assume that there are ways for early Americanists to make use of this incredible resource that we haven’t even thought of yet.




Back to the Battlefield

When is missing text an edit, and when is it a political statement? United Daughters of the Confederacy plaque from Appomattox, 1893. Photograph courtesy of the author.

A Cultural Historian’s View of Civil War Memorials at Appomattox, Fredericksburg, and Island Mound

When I go to the battlefields, I bring along my own Civil War.

Having grown up in San Diego, now teaching in El Paso and living in Los Angeles, and being a Civil War scholar who studies the conflict in the American West and in Canada, I operate on the margins of what most Americans think of as the heart of Civil War history and memory.

The election of Abraham Lincoln and the secession of South Carolina? The culmination of a political struggle reaching back a decade. The march of uniformed soldiers across the battlefields at Antietam or Gettysburg, and the huge numbers of injured and killed? Tragic, but ultimately smaller in scale compared with the deaths and displacements caused by the U.S. military and civilian settlers in the West, dispossessing American Indian nations and Spanish-speaking residents. The loss and recovery of U.S. territorial control in the border states? Interesting, but a faint echo of the monumental task of incorporating the vast western half of the continent into the United States.

It seems to me old-fashioned that the proper study of the Civil War requires deep engagement with the military conflict, with soldiers’ motivations and regimental histories, and with statues in town squares. The current study of the Civil War is about examining how the priorities of slaveholders controlled politics, how Union and Confederate officials were bent on territorial expansion, how infrastructure and macroeconomics doomed the Confederacy, how environmental factors determined the outcome of battles, and how the war’s lasting results were all played out beyond the 100th meridian. This is what the latest Civil War scholarship (mine included) suggests—and these are lessons that do not require leaving the house, or stepping outside the classroom.

My Civil War is still a national convulsion, a phenomenon of the politics, culture, and economics of slavery and territorial expansion. But those abstract ideas led to very real fights on this land.

But then there is the experience of going out and walking a Civil War battlefield.

From my vantage point in the far West, to visit a battlefield one first has to get on a plane, then rent a car, then drive out beyond the highway rings and the strip malls. For a San Diegan, the battlefield parks of the East are all so green, and so rural. Can those folks really be farming right alongside the park? And can its boundaries be marked by nothing more than a split-rail fence?

This mild sense of surprise is replaced by the shock delivered by these hallowed places in person. You are driving along and then you see it: The Deep Cut, at Manassas. Bloody Hill, at Wilson’s Creek. Burnside Bridge, at Antietam. Seminary Ridge, at Gettysburg. The Crater, at Petersburg. Out of the classroom, away from the archives, standing where those soldiers stood, looking out at the rows and rows of graves, one can almost hear the drums and smell the smoke. The monuments and the flags command respect, and even the jaded can feel a bit of what draws people to the battlefields.

Despite these feelings of connection on battlefields, I don’t get drawn into tactical rehashes, conversations with re-enactors, or detailed discussions of artillery specs. My Civil War is still a national convulsion, a phenomenon of the politics, culture, and economics of slavery and territorial expansion. But those abstract ideas led to very real fights on this land, 150 years ago, and I want to pay respect to their actions as well, and to observe carefully how history and memory, the fight and the cause, come together not on the field of battle itself but in the memorials on the battlefield.

 

When is missing text an edit, and when is it a political statement? United Daughters of the Confederacy plaque from Appomattox, 1893. Photograph courtesy of the author.
When is missing text an edit, and when is it a political statement? United Daughters of the Confederacy plaque from Appomattox, 1893. Photograph courtesy of the author.

I am a cultural historian of the Civil War, gone back to the battlefields to seek out their importance, not in land and artifacts, but for how the battlefields have been marked, how memorials express how memories and meanings have been applied to these places.

In my travels to battlefields I have explored the mowing history at Petersburg, the monument to hot coffee at Antietam, the missing Robinson House at Manassas, and the shrine to Thomas “Stonewall” Jackson’s arm at Chancellorsville. Here, I will consider how memorials can bring scholars back to the battlefield, and then reflect on three additional memorials I have visited, in this slowly growing, still-continuing self-guided course in Civil War memory. I present them in the order of their construction: at Appomattox, Fredericksburg, and Island Mound.

The book that brought me to the battlefields is the art historian Kirk Savage’s Standing Soldiers, Kneeling Slaves. As the title suggests, the book moves between formal and iconographic readings of Civil War memorials—why is it that sculptors chose to commemorate emancipation with kneeling African Americans?—and contextualized accounts of memorial design, placement, and dedications. Considering Richmond’s Monument Avenue, Gettysburg’s forest of obelisks, the Freedmen’s Memorial, and the generic citizen-soldier memorials in many towns, Savage pointed the way to an engagement with the icons of memory that, depending on your point of view, augment or obstruct the historical vistas.

Academic and public historians have expanded their understanding of the Civil War by taking seriously the conflicts over its memory. In 1989, David Blight utilized the personal Civil War of Frederick Douglass to shape the first essay out of the material that would become his influential book Race and Reunion. The Civil War—”it was not a fight between rapacious birds and ferocious beasts, a mere display of brute courage and endurance,” Douglass said in a Decoration Day speech in 1878, “but it was a war between men of thought, as well as of action, and in dead earnest for something beyond the battlefield.” As Blight noticed, the details of battle and the gallantry of soldiers could easily overtake the larger questions of why men and women dedicated themselves to the Union or Confederate cause, and how history should judge those motivations and outcomes. As James Lundberg has written, the ever-present enthusiasm for Civil War courses is fanned by the vision of the war in Ken Burns’s now-legendary 1990 PBS series that only feints toward a wider narrative.

Jim Cullen explicitly addressed the war as “a reusable past” in The Civil War in Popular Culture (1995), pointing toward the battlefields as a place to engage a more comprehensive history of slavery and the nation in war. In 1996, Dwight Pitcaithley, then chief historian of the National Park Service, wrote that “It is no longer acceptable to be satisfied with merely getting the facts right,” as “history does not possess only one truth, but many truths … The National Park Service has an obligation to present to the American public a history that promotes an understanding of the complexity of historical causation, the perils of historical stereotypes, and the relationship between past events and contemporary conditions.” To truly engage these questions, as Pitcaithley has urged, we have to get beyond the stereotypes—regardless of how amusing Tony Horwitz’s depictions of weekend-warrior re-enactors in Confederates in the Attic (1998) may be.

 

There are no photographs of Lee's surrender to Grant in the McLean House at Appomattox Courthouse; indeed, visitors today enter a replica of the house, which was disassembled at the turn of the twentieth century. Photograph courtesy of the author.
There are no photographs of Lee’s surrender to Grant in the McLean House at Appomattox Courthouse; indeed, visitors today enter a replica of the house, which was disassembled at the turn of the twentieth century. Photograph courtesy of the author.

In 1999, Congressman Jesse Jackson Jr. introduced language to charge the NPS with “documenting and describing the historical, social, economic, legal, cultural, and political forces and events that originally led to the war which eventually manifested themselves in specific battles,” including “the unique role that the institution of slavery played in causing the Civil War and its role, if any, at the individual battle sites.” The resulting NPS conference in 2000, Rally on the High Ground: The National Park Service Symposium on the Civil War, as well as Pitcaithley’s call in the AHA Perspectives and in James and Lois Horton’s Slavery and Public History: The Tough Stuff of American Memory, called for more research professors to engage with the NPS efforts. These efforts have borne fruit, as the official NPS sesquicentennial companion guide, with essays by many prominent Civil War historians, can attest.

As historian Kevin Levin noted in 2009, when he and I first began discussing the disconnect between scholarly and popular perceptions of the war and its causes, “I sometimes think that our colorful stories of Lee and Lincoln are more of a threat to our sense of national identity [than] no memory or connection with the war.” The public reception of the movies Lincoln, Django Unchained, and Abraham Lincoln, Vampire Hunter amidst the Civil War sesquicentennial commemorations has again revealed how varied—and unmoored from historical scholarship—the public engagement with the Civil War can be.

I hope for still more placards and tours, signs and questions along the trails that can point to the places where the culture and politics of the Civil War intersect directly with the battlefield narratives—and where the politics and culture of Civil War memorialization can be engaged. In the meantime, standing on the battlefield with smartphone in hand allows the visitor to have this fuller engagement with the history of Civil War memorialization and its cultural resonances. In the remainder of this essay, I analyze three battlefield markers, at times willfully ignoring the intent of these Civil War memorials in order to engage new perspectives on the Civil War through stories of subtraction, addition, and new questions in Civil War memory.

Appomattox: Editing History Before Wikipedia

Let us start at the end. The battle over the memory of the Civil War did not wait for the fighting to cease, but Appomattox is an appropriately symbolic place to consider how the war’s fights continued in words after the guns fell silent.

In a grove just west of Appomattox Courthouse, next to a small cemetery where Confederate veterans are buried, a metal plaque with raised letters calmly explains the conclusion of the Civil War. It dates from 1893. “Here on Sunday April 9, 1865 after four years of heroic struggle in defense of principles believed fundamental to the existence of our government Lee surrendered 9000 men the remnant of an army still unconquered in spirit to 118000 men under Grant,” it reads—or, rather, it once read. When it was moved to this site, the final line was chipped off, so it now reads only, “… an army still unconquered in spirit.” And therein lie two stories, one imaginative and one far more prosaic.

 

Flags and gravestones stand as witnesses to the modern grappling with surrender. Confederate cemetery, Appomattox. Photograph courtesy of the author.
Flags and gravestones stand as witnesses to the modern grappling with surrender. Confederate cemetery, Appomattox. Photograph courtesy of the author.

Surrenders are hard. As Robin Wagner-Pacifici noted in her study The Art of Surrender, there were no photographs taken of the surrender ceremony at Appomattox, at the end of “a much-photographed war.” This choice reflected the agonizing work of surrender, she argued, for signatures in surrender commit the losing side to disappear: one participates in a surrender as a commander or a representative, but the act of signing or submitting makes that which you command or represent dissolve. And so it is understandably difficult to memorialize the moment when the cause is given up, when the winners and losers receive their labels. One can understand how someone who celebrates the Confederate cause might not be comfortable with naming those victors in their memorial to those who surrendered.

The erasure’s incompleteness draws our attention to the edit. If the entire monument was removed, or the chipping away had been more complete, visitors would not even know something was missing. This complete erasure is common in many battles over the politics of history—the first battle in regaining such a memory is to be acknowledged as part of the historical scene.

The partially erased monument at Appomattox echoes others, and the causes they seek to hide or reveal. In 1973 in Santa Fe, an American Indian Movement activist chiseled the word “savage” off an 1868 Civil War monument “to the heroes who have fallen in the various battles with savage Indians.” He defended his action as an attempt to remove the “racism and character assassination” he saw in the word. A newer plaque argues that the use of the words “savage” and “rebel” on the monument reflect the “temper” of “a period of intense strife.” Such dueling plaques also now frame the Monument to the Faithful Slave erected by the United Daughters of the Confederacy in Harpers Ferry in 1931. The erasure of letters on the Appomattox plaque might suggest, then, the raw emotion still attached to the Confederate surrender to Grant.

These battles over memory occur on the ground, but their most common modern site is Wikipedia, the online, completely editable encyclopedia. You can write whatever you want on the Internet; to tell your version of events in cyberspace is far easier than doing so inside a national battlefield park. But on Wikipedia, not just anything goes. Wikipedia, like any work seeking credible authority, has built-in standards to protect the accuracy of its pages and pass judgment on any changes. Despite being the work of mostly amateurs and enthusiasts, Wikipedia has become an increasingly accurate reference work—one where chiseled deletions, if meant to erase an accepted truth, would immediately be noticed and flagged for correction, or at least discussion.

Despite the possibility that the removed words at Appomattox were an act of vandalism fueled by a battle over Civil War memory, the truth is far less charged.

This plaque was placed on the site of the original courthouse by the United Daughters of the Confederacy soon after the building burned to the ground, in 1892. It was moved to its current location in preparation for the Civil War Centennial, when the Appomattox Courthouse buildings were reconstructed, in 1963-64. And as for the chiseling? The UDC numbers were way off—counting a very small Confederate force, and a far too large Union one—and so the last line was chiseled off “as a compromise between the National Park Service and the United Daughters of the Confederacy” in 1964, according to park curator Joseph Williams.

Here, as in Santa Fe, the editing of monuments brings us closer to the accepted truth. But the scar of that earlier, erroneous history remains.

Fredericksburg: Angels of the Battlefield

If the Appomattox case is about memory by subtraction, the sculpture at the base of Marye’s Heights at Fredericksburg demonstrates Civil War memory by addition. I toured Marye’s Heights soon after dawn one summer morning. The park was not yet technically open, but the warm light and the deserted hillside were irresistible. Birds fluttering around were all that disturbed the quiet, until I remarked aloud my surprise at this statue.

It is rather far down the road along the Stone Wall, and the statue is dramatically out of proportion with the site. An enclosure of low hedges creates a space for the monument alone, and visually cuts out some of its height when seen from a distance. The framing works much like that at the U.S. Marine Corps Memorial in Arlington, Virginia, which is best comprehended from afar, its massive reality cordoned off by circles of hedge, concrete, more grass, and then a circular road. These choices may be intentional, as both sculptures are the work of the same artist, Felix de Weldon.

 

The arresting, almost erotic statue of the "Angel of the Battlefield" at Marye's Heights, Fredericksburg. Felix de Weldon, 1966. Photograph courtesy of the author.
The arresting, almost erotic statue of the “Angel of the Battlefield” at Marye’s Heights, Fredericksburg. Felix de Weldon, 1966. Photograph courtesy of the author.

When I first saw this statue, I was struck by what I thought I saw: one Civil War soldier reaching down to kiss another, lying in his lap. Homosexuality had no such name in the middle of the nineteenth century, but there are many recorded homosocial and homosexual relationships, from the gold mines to the battlefields and beyond. After the battle of Fredericksburg, Walt Whitman came to Washington to find his brother, who had been injured there. Whitman then spent the war years in the hospitals, witnessing and caring for wounded Union soldiers. After the death of Erastus Haskins, who had played the fife for a New York regiment, Whitman wrote addressing the dead man: “Poor dear son, though you were not my son, I felt to love you as a son,…. So farewell, dear boy—it was my opportunity to be with you in your last rapid days of death—no chance as I have said to do anything particular, for nothing could be done—only you did not lay here & die among strangers without having one at hand who loved you dearly, & to whom you gave your dying kiss.” With Whitman’s emotions in mind, I approached the sculpture with an eye to how it added such a rarely spoken-about element to the battlefield tableau.

The statue was constructed in 1965 to commemorate the actions of Confederate soldier Richard Kirkland, remembered as the “Angel of the Battlefield” for risking his life to provide water and comfort to enemy soldiers in the no-man’s-land on the second day of the battle of Fredericksburg.

A debate has erupted regarding whether Kirkland actually did this, and the extent of his heroic acts. Commentators have called the most extensive version of the story, recounted by his commander in the 1880s, ” a Lost Cause fairy tale.” But the power and form of the statue exist separate from the facts. Indeed, the presence of this monument does far less to commemorate Kirkland’s actions than to highlight the nature of war memory at the time of the centennial, and to demonstrate how, as my twenty-first-century eyes had seen, a monument gathers a life of its own.

This centennial sculpture shows a man from the North and a man from the South locked in a life-giving embrace. As Nina Silber’s The Romance of Reunion and David Blight’s Race and Reunion suggest, the reunification narrative that dominated Civil War memory from the Jim Crow era until the triumph of the modern Civil Rights movement was about honoring the valor of white soldiers without much regard to which side they fought on. It steered clear of the role of slavery and the other causes of the war in order to celebrate moments that could bring the North and South together—whether a cross-sectional marriage, as was often depicted in literature, or a transcendent moment of humanitarian aid, as Kirkland displayed.

A closer look reveals that the soldiers are not lovers but enemies, men from opposite sides of the conflict—though they are brought together in an embrace. These moments may not be sexual, but they are intimate. The blood, the sweat, the close quarters of the battlefield creates intimacies, whether desired or not. And we react to their embrace much as we might to the famous embrace of Alfred Eisenstaedt’s V-J Day in Times Square, which has been recreated as a sculpture, John Seward Johnson II’s Unconditional Surrender.

The Union soldier’s eyes are mostly closed and his mouth begins to open, recalling the posture in Gian Lorenzo Bernini’s The Ecstasy of St. Teresa, expressing the extremities of pain—or joy. With the Kirkland figure arching all the way over the stricken Union soldier and their hands clasped, the physicality of the sculpted men combine with the emotional pull to create a sense of eroticism in the mind of the viewer.

Since the centennial years, scholars of war have re-acknowledged the visceral nature of battle, the intimacy and even sexuality that might be aroused by such encounters. Nineteenth-century men might not have spoken of such feelings and experiences, and they were not the intent of the centennial commemorations and statuary. But the visceral and the sexual allusions add to the emotional impact of this statue—and thereby add something of the full human experience to our memorializations of the Civil War.

Island Mound: History Re-Emerging

For the past 149 years, no one could tell the history of the Civil War without discussing Appomattox and Fredericksburg. But the events of the Battle of Island Mound are just now reemerging, and the plaques and statues commemorating the battle reflect this sense of discovery.

The story of the Island Mound memorials begins in October 1999, when Larry Delano Coleman, pastor of the Brooks Chapel A.M.E. Church of Butler, Missouri, held a memorial service for the eight men who died in the battle. Butler is the seat of Bates County but a very small city, with a population of around 4,200 today. When you exit the freeway into Butler, the signs direct you to the home of Robert Heinlein, the science-fiction author of Stranger in a Strange Land and Starship Troopers—literally a world away from the Civil War. That is not to say that the Civil War does not hang heavily in the area, as Bates is one of the counties that was targeted in General Thomas Ewing’s Order No. 11, which emptied a large swath of western Missouri in the effort to weed out Confederate sympathizers in August 1863. During the war, Butler found itself defended by such sympathizers in the state militia when “Kansas ruffians” set the town ablaze, in the back-and-forth of warfare along that border.

The Battle of Island Mound, on October 29, 1862, emerged from one of these raids. Kansas Senator James Lane commanded the 1st Kansas Colored Volunteer Infantry, a unit composed of escaped slaves from Arkansas and Missouri, to fight for freedom in western Missouri. The skirmish at Island Mound has a claim to fame as the first engagement between African American soldiers and Confederate-aligned troops. That these opposing men were Missourians, fighting off an invasion from another Union state, demonstrates how fluid and complex the mix of allegiances were in Missouri, a state claimed throughout the war by both the Union and the Confederacy.

 

The statue of an African American soldier on the town square in Butler, Missouri, represents the emerging memory of the Battle of Island Mound, about a quarter-mile away. Joel Randell, First Kansas Volunteer Colored Infantry. Photograph courtesy of the author.
The statue of an African American soldier on the town square in Butler, Missouri, represents the emerging memory of the Battle of Island Mound, about a quarter-mile away. Joel Randell, First Kansas Volunteer Colored Infantry. Photograph courtesy of the author.

At the 1999 meeting, Coleman raised enough money to commission a sculpture of an armed black soldier, rising up into the fight, by the sculptor Joel Randell of Oklahoma. The Island Mound statue rises on a granite block in the courthouse square at the center of Butler, about a quarter of a mile from the battle site. There, a collection of signs installed by the Missouri Department of Natural Resources describes the path of the battle, and the plaque concludes, “Here, their bravery and determination helped our nation better understand the founding fathers’ words ‘all men are created equal.’ Here, on October 27, 2012, we memorialize their victory and the American freedoms they fought for so bravely.”

The plaque sits on a stout granite obelisk, on a small plaza with a park bench. The site looks mostly like an empty field—common enough among the preserved battlefields, but making it that much harder to conjure up the scene. As another of the Island Mound signs declares, “There are still many questions about the Battle of Island Mound, the Toothman farm and Fort Africa. Artifacts and other evidence provide clues that help to tell the story about what really happened at this site,” and some of that archaeological work is ongoing.

Island Mound memorializes African American memories of the Civil War—highlighting not only the fighting of African American troops without reference to their white commanders, but also the growing acceptance of the centrality of slavery to the causes of the war, and the ways that the war would lead to emancipation for those held in loyal slave states such as Missouri as well as in the Confederacy. We have come a long way from the kneeling slave memorials that Kirk Savage analyzed.

Since there are so few actual photographs of African American soldiers, I find a certain homogeneity in the sculptures and memorials that exist: the same weapons and the same uniforms (which simply reflect Army order), but also the same facial expressions, the same postures, and some of the same facial features as well. Are the faces in The Spirit of Freedom (1992-98), by Ed Hamilton, at the African American Civil War Memorial in Washington, D.C., or Randell’s work, based on individuals, or merely “types”?

The first memorial to African American troops was Augustus Saint-Gaudens’s bas-relief sculpture dedicated to the commander of the Massachusetts 54th Infantry Regiment, Robert Gould Shaw, on Boston Common, unveiled in 1897. The soldiers there, modeled from local members of the African American community, have individualized expressions as they march in profile in the background, behind their commander Robert Gould Shaw, who is front and center. Similarly, Ed Dwight’s Founder’s Memorial (2007) at Lincoln University in Jefferson City, Missouri, draws upon images of the early soldier-scholars of that institution.

The movie Glory (1989), about the 54th Massachusetts, brought the African American soldiers’ Civil War experience to prominence in American memory. And its iconography—a resolute Denzel Washington and a confident Morgan Freeman—overwhelms the soldiers these new memorials seek to recall. Perhaps we simply do not have enough images of these soldiers, nor the mental clues—Lincoln’s long face, Sherman’s haughty look, Grant’s rounded visage—to instantly connect us to any good likeness. Anonymous white faces front so many local Civil War monuments, but somehow the anonymity of these black figures offends me more.

For the moment, a visit to Island Mound provides the chance to see both history being recovered and the memory of the site being shaped. It may take until the Civil War bicentennial to understand what the sesquicentennial emphasized, but this effort to include more of the war’s participants, and to tell the story of smaller battlefields farther west than Gettysburg, demonstrates how the public memory and the new history of the Civil War is changing.

Appomattox, Fredericksburg, Island Mound—what are we to make of these three case studies? What is at stake in these readings and misreadings, these edits and additions? Every site tells its local story, but these memorials also become a window into the larger questions of the Civil War era regarding cause and consequences; the role of slavery; the geography of the war; and the participants in the conflict. Then there are the historical, political, and social circumstances of the memorial makers, and their agenda in these commemorations.

Effective war memorials engage eternal questions about human life and meaning-making. What is praised, and what is hidden? Who is included, and who is left out? Which human experiences are celebrated, and which are not? As we view memorials and battlefields, our views of courage, morality, and violence come into play. So do our thoughts about race, ethnicity, gender, and sexuality, about region and nation and destiny.

From the battlefield plaque to the Internet, from a descendant’s pilgrimage to a tourist’s vacation, a casual engagement with Civil War memorials is impossible. Memorials and battlefields ask for a response, and we give it, whether in a devotional, critical, or playful manner. Walking these grounds we are never far from the analytical and political questions that drive a national interest in the Civil War and its legacies for the United States. As we engage these memorials, we shape them with our own personal civil wars, our visions of the nation. And, during the sesquicentennial, we can share our personal civil wars with the world.

Acknowledgments

The author would like to thank Joseph Williams and Ernest Price of the National Park Service for information about the Appomattox plaque.

Further Reading

For earlier studies of memorialization on the battlefield, see Kirk Savage, Standing Soldiers, Kneeling Slaves: Race, War, and Monument in Nineteenth-Century America (Princeton, N.J., 1997); Robert K. Sutton, ed., Rally on the High Ground: The National Park Service Symposium on the Civil War: Ford’s Theatre, May 8 and 9, 2000 (Fort Washington, Pa., 2000); David W. Blight, Race and Reunion: The Civil War in American Memory (Cambridge, Mass., 2001); and Paul A. Shackel, “Heyward Shepherd: The Faithful Slave Memorial,” Historical Archaeology 37:3 (2003):138-148.

On recent Civil War memorialization events and struggles over them, see Jim Cullen, The Civil War in Popular Culture: A Reusable Past (Washington:D.C., 1995); Tony Horwitz, Confederates in the Attic: Dispatches from the Unfinished Civil War (New York, 1998); James Lundberg, “Thanks a Lot, Ken Burns,” Slate (June 2011), and Ari Kelman, A Misplaced Massacre: Struggling Over the Memory of Sand Creek (Cambridge, Mass., 2013).

For my additional musings about memorialization on Civil War battlefields, see Adam Arenson,“Manassas: The Missing Robinson House,” Civil War Memory (July 21, 2011); “Back to the Battlefield: Field Notes from a Cultural Civil War Historian,” Civil War Memory (August 3, 2011);“On Antietam and Hot Coffee,” Civil War Memory (August 11, 2011); “Petersburg: Mowing History,” Civil War Memory (September 7, 2011); “Stonewall Jackson’s Arm Lies Here: What a memorial for an amputated limb can teach our society about wounded veterans,” The Atlantic (May 2, 2012).

For studies of nineteenth-century sexuality, see Peter Boag, Re-Dressing America’s Frontier Past (Berkeley, Calif., 2011); H.G. Cocks, Nameless Offences: Homosexual Desire in the Nineteenth Century (London, 2003); Graham Robb, Strangers: Homosexual Love in the 19th Century (London, 2003); and William Benemann, Men in Eden: William Drummond Stewart and Same-Sex Desire in the Rocky Mountain Fur Trade (Lincoln, Neb., 2012).

For influential considerations of the battlefield sites discussed, see Michael Schaffner, “Is the Richard Kirkland Story True?” Civil War Memory (December 22, 2009), and Larry Delano Coleman, “‘Battle of Island Mound, Missouri’: Memorializing the First Black Troops to Fight in the American Civil War,” Larry’s Library (September 13, 2012).

 

This article originally appeared in issue 14.2 (Winter, 2014).


Adam Arenson is an assistant professor of history at the University of Texas at El Paso. He is author of The Great Heart of the Republic: St. Louis and the Cultural Civil War (2011), co-editor of Frontier Cities: Encounters at the Crossroads of Empire (2013), and co-editor of Beyond North and South: Civil Wars and Reconstructions in the American West (University of California Press, 2015). Learn more at http://adamarenson.com.