The Duke strikes a pose during his rehearsal of (a version of) Hamlet’s soliloquy, in Chapter XXI of Huckleberry Finn. (Illustration from first edition, via First Edition Huck Finn Illustrations.
This is not the promised Part II of the previous post but, instead, an elaborating on the following passage from that post:
Meanwhile, beneath (quite literally) all of this, enabling the narrator’s and characters’ lack of interest in these matters, is the brute fact of the Mississippi River and its tributaries and, more to the point, the Cotton Blossom‘s ability to travel upstream as well as downstream. In Show Boat‘s jacket art, the other unseen-yet-constant presence, in addition to the riverboat itself, is the river. As in Huckleberry Finn, this novel is obsessed with the various features of its setting; also as with Twain’s novel, though, the river becomes, in Lauren Berlant’s words from a slightly different context, “an apparatus of forgetting” (414). Or, more accurately, in both those novels at least some of their respective characters fervently hope, even if subconsciously, that it become such an apparatus.
In no place do the characters in Ferber’s novel mention Twain’s novel; indeed, it would be very surprising if they were to do so, seeing as most of Show Boat‘s action takes place before or right around Huckleberry Finn‘s American publication date of 1885. Moreover, as of my writing this post I do not know if Ferber had Twain’s novel in mind as she composed hers. Even so, the correspondences between these novels are striking.
In the world of the novel itself Andy Hawks begins his career as a riverman in the 1850s, about ten years after the time in which Twain’s novel is set. We can fairly say, then, that these novels’ respective worlds’ starting points, at least, are contemporaneous with each other. However, I want briefly to point out that, as alluded to in the quoted passage above, these novels have more in common with each other than the same chronological starting point, or even their shared setting of the Mississippi River. Continue reading →
Originally published in Brazil in 1978, this translation (by E. A. Goodland and Thomas Colchie) was published in 1984.
In her important study, Foundational Fictions: The National Romances of Latin America (1991), Doris Sommer discusses a range of nineteenth- and early-twentieth-century novels from throughout Latin America that, she argues, were intended to create in readers a sense of national identity in the wake of independence. These novels, she writes, “are almost inevitably stories of star-crossed lovers who represent particular regions, races, parties, economic interests, and the like. Their passion of conjugal and sexual union spills over to a sentimental readership that hopes to win partisan minds along with hearts” (5). We have no exact equivalent to these novels in the U.S., though Sommer discusses Cooper’s The Last of the Mohicans as inspiration for some South American novelists; but, if one squints in a Leslie Fiedler kind of way, one can see how Huckleberry Finn would be an exact fit for the description Sommer provides. For Brazilians, one such novel would be Iracema (1865), by José de Alencar (1829-1877), who was an important political figure in mid-nineteenth-century Brazil. It allegorizes the origins of Brazil by means of the tale of the Tupi Indian woman Iracema (an anagram of “America”) and Martim, a Portuguese colonist, who together conceive a son; his birth, however, even as it symbolizes the emergence of the Brazilian people, also leads to Iracema’s death. (Notably missing from this novel is the presence of the third race that, combined with indigenous and European peoples, led to the emergence of the Brazilian people: people of African descent brought to Brazil as slaves. But all of that belongs, for now, in a discussion for another time.)
I am sharing all this because, while reading Darcy Ribeiro’s novel Maíra (1978) and becoming a bit frustrated with it as I did so, I finally realized that it is writing both in response to and against the romantic myth of Brazil’s founding that Iracema helped establish. Moreover, it does so by turning Iracema‘s elements inside-out in an attempt not to re-mythologize Brazil’s past but to cannibalize that nation’s literary past so as to render the truth of Brazil’s present, at least as Ribeiro had come to understand it.
More below the fold.
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I have just now finished my first read-through of PrairyErth and will shortly begin to work my way through it again, this time looking at notes I’ve made in the book by passages that might serve well as jumping-off points for writing assignments for my class this fall. So, this seems like a good time to take stock of academic-related work I’ve accomplished so far this summer.
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