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Affective Time: American Realism As Resynchronization, 1860-1910

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Affective Time: American Realism As Resynchronization, 1860-1910 Affective Time: American Realism as Resynchronization, 1860-1910 Emily K. Bald A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Mark Patterson, Chair Robert Abrams Carolyn Allen Program Authorized to Offer Degree: English ©Copyright 2018 Emily K. Bald University of Washington Abstract Affective Time: American Realism as Resynchronization, 1860-1910 Emily K. Bald Chair of the Supervisory Committee: Mark Patterson English My dissertation, Affective Time: American Realism as Resynchronization, 1860-1910, examines the disciplinary functions of the clock and attendant temporal systems in U.S. literature and culture from the mid-19th to early 20th century. I am specifically interested in the way American realism brings temporality itself to the fore as a critical but often ineffable dimension of our embodied and intersubjective life. That our sense of time shifts with the vicissitudes of our emotional states is common sense: time flies when we’re having fun, drags when we’re bored, freezes when we’re afraid, and so on. Yet surprisingly little attention has been paid in literary studies to the originary relationship between temporal and affective experience, nor to the various social, political, and aesthetic contexts of this connection. My project focuses on the role of modern time discipline and synchronicity in factory labor and class stratification, reconciliationist cultural memory of the Civil War, women’s time-thrift and domesticity, and white supremacist narratives of cultural history and national progress. I argue that U.S. literary realism developed as a means of negotiation between the chaotic pluralism of perceptual times, which threatened what William James described as “the turbid privacy of sense,” and the large-scale reification of clock time and related systems (e.g., factory shifts), which sustained many social and political institutions by subordinating individuals’ variable, emotionally mediated temporal experiences to a regulatable and necessarily disembodied meter. As efforts were made to standardize time, laying the foundation for broader networks of social synchronicity in the second half of the 19th century, more complex studies of the evolutionary mind and body were emerging in psychology, neurobiology, and physiology that highlighted the critical adaptability of our inner clocks. Extending what Michael O’Malley has called 19th-century America’s “crisis in the authority of time,” I thus situate the emergence of literary realism within a period of conflict among disparate understandings of temporal “reality” and the impacts of new social constructions of time upon the body. Throughout my archive, feelings of synchronization with and desynchronization from social time draw attention to the various temporal modalities and time scales individuals had to negotiate during this period, whether implicitly or with great difficulty and self-awareness. I focus on moments of disjuncture – experiences of slipping or being jolted out of habitually lived and socially shared time – whereby the feeling of time is brought to the surface of characters’ and readers’ attention, enabling them to question previously uninterrogated social constructions of time and the (often oppressive) institutions they tacitly sustain. I take the term “desynchronization” from phenomenological psychiatrist Thomas Fuchs, who has charted a new course in the interdisciplinary field of time perception by extending the terms “synchronization” and “desynchronization” from chronobiology – the study of our diurnal rhythms (e.g., sleep-wake cycles, libido, and appetite) – to psychosocial and cultural dynamics, including “common attitudes, fashions, styles, values and memories” that provide the feeling of “a basic ‘contemporariness’” (180-81). Fuchs’s characterization of modern time consciousness is germane to the social and historical context of realism, but furthermore, it speaks to the interplay between synchronization and desynchronization embedded in realism’s narrative forms, which aim to synthesize the “mutual commitments, agreements and arrangements” necessary to the feeling of shared time, while also registering periodic disjunctures which compel us to question the terms of those agreements. Desynchronization from social time thus arises as both opportunity and threat in my archive: it offers new vantage points on sociopolitical constructs, “releasing subjects from the normativity of intuition and making them available for alternative ordinaries,” in Lauren Berlant’s words (5-6), but it also unsettles a shared sense of reality. Acknowledgments I can’t help but begin with a cliché: it really is impossible to express how grateful I am to have felt emotionally, financially, and professionally supported throughout my seven years at the University of Washington. The English Department faculty and staff helped encourage my development as both a scholar and teacher, and as exciting as it is to finally finish, I know I’ll leave this place with a heavy heart. Each of my committee members has made a unique and lasting impact on me. Bob Abrams, it was your seminar on landscape in 19th-century American literature that lured me to the field. I’ve been struck by your generosity as a listener and reader: you have an incredible knack for hearing something intelligent in even my most idiotic comments, and this is one of many qualities that make you such a fantastic mentor. I’ll never forget your comparing the garbled organization of an early draft of my Master’s essay to “the odd, difficult-to-follow logic” of Wittgenstein’s ‘game,’ in your words. If there were a Pulitzer for emails, I’d nominate you. Carolyn Allen, I want to thank you for leading the most energetic, generative, collaborative, and motivating seminar I’ve taken. Your class introduced me to affect theory, but more importantly, it taught me what a successful graduate seminar feels like. I am, furthermore, deeply grateful to have assisted your research for the Next Generation Ph.D. grant, which you oversaw with the same level of creativity and dynamism you bring to each of your classes. Right up to your retirement, you were continuing to ask how our department – and graduate programs in the humanities nationwide – can be doing more to adapt to the changing possibilities and challenges of higher education. I know very few people with so much energy and drive. You have been a very important role model for me. To Mark Patterson, my chair, I can’t thank you enough for the intellectual and emotional support you’ve given me throughout this process. I can recall many occasions when you asked to see a draft, I insisted it was “a mess,” unsuitable for other readers, and you demanded to see it anyway, usually adding something like, “Set deadlines, not standards,” or, at one point near the end, “You still have pride!?” Whatever the stage of my writing and thinking, you were able to ask the simplest but most incisive and provocative questions to help me see the project in new ways. You were not only my mentor but my advocate, writing what I’m sure were partly fictional (or we’ll say hyperbolic) letters on my behalf that led to fellowships, teaching opportunities, and award nominations. You have been encouraging, patient, and pragmatic, and as trite as it sounds, I could never have made it here without you. My friends and family have kept me afloat all these years. I have been fortunate to make lasting friendships here: Jenny Van Houdt, thank you for commiserating and caring so deeply for your friends, and for bringing your self-deprecating sense of humor and signature brand of cheery pessimism into my life. Thank you Anthony Manganaro, my husband and first reader, for being there with me every step of the way. Thank you for your refreshing honesty, bluntness, uncontrollable transparency, light-heartedness, humility, and humor. Knowing that I am loved unconditionally by you – or under the sole condition that I pretend to laugh at even your dumbest jokes – sustained me during the most difficult moments of graduate school. To my parents, Kim and Doug Bald, and my brother Matt, you have been my foundation from the beginning. I couldn’t ask for a more loving and supportive family. For Anthony, Who keeps it light Table of Contents Introduction Realism and the Reconstruction of Time………………………………………………... 1 Chapter One The Art of Habit in “Life in the Iron Mills”.…………………………………………… 40 Chapter Two Civil War Cycloramas and Bierce’s Counter-Aesthetics of the Abrupt………………... 83 Chapter Three Kate Chopin’s Darwinian Philosophy of Becoming…………………………………... 121 Chapter Four “That note in music heard not with the ears”: Ragged Time in The Autobiography of an Ex-Colored Man………………………………………………………………… 176 Works Cited ….………………………………………….……………………...……………. 228 – Introduction – Realism and the Reconstruction of Time On November 18, 1883, a group of American railroad companies implemented a system of four standardized time zones in an event later dubbed the “day of two noons”—so named for regions where clocks were set back to 12:00 from anywhere between 12:01 and 12:30. Railway engineers had agreed to coordinate their clocks around seventy-fifth meridian time, whereupon they would become accurately synchronized “to hundredth parts of a second,” as The New York Times reported the next morning, “a space of time so infinitesimal as to be almost beyond human perception” (“Turning”). The Times reporter recalls the ceremonious atmosphere
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