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Maritime Sensibility: Sentimentalism, Racial Capitalism, and a Critique of the American

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Maritime Sensibility: Sentimentalism, Racial Capitalism, and a Critique of the American Maritime Sensibility: Sentimentalism, Racial Capitalism, and a Critique of the American Maritime Genre Matthew Kastrup Hitchman A dissertation Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy University of Washington 2020 Reading Committee: Eva Cherniavsky, Chair Alys Weinbaum Jesse Oak Taylor Program Authorized to Offer Degree: Department of English © Copyright 2020 Matthew Kastrup Hitchman University of Washington Abstract Maritime Sensibility: Sentimentalism, Racial Capitalism, and a Critique of the American Maritime Genre Matthew Kastrup Hitchman Chair of the Supervisory Committee: Eva Cherniavsky Department of English This dissertation looks to the early American literary marketplace and argues that the American maritime genre, assumed to have begun with James Fenimore Cooper’s novel The Pilot in 1824, was not an uncontested genre prior to Cooper’s popularization of maritime nationalism. Instead, this dissertation remaps the genealogy of the genre of American maritime literature by beginning with the circulation of Olaudah Equiano’s Interesting Narrative and port town periodicals marketed to women in the late-eighteenth and early-nineteenth century. Doing so has implications for reassessing the development of sentimentalism in popular forms throughout the nineteenth century. Chapter one looks at the American reception of Olaudah Equiano’s Interesting Narrative and considers his text as both undermining the trope of maritime nationalism and interrogating the uses of sentimentalism within systems of racial capitalism. Chapter two continues the consideration of sentimentalism within racial capitalism by offering a survey of women’s periodicals circulated within port towns during the late-eighteenth and early- nineteenth century. In these periodicals, the sentimental trope of “presentiment” is mobilized to forge connections between the material experiences of hyper-exploited laborers, particularly unwaged feminized laborers. I argue that this trope emerges from the same discourse of financial speculation within the Atlantic trade system that Equiano engages in his narrative—these engagements are what I term “maritime sensibility,” a potentially insurgent countercurrent to the dominant discourse of financial speculation. In chapters three and four I track the half-life of maritime sensibility throughout the late-nineteenth century. In chapter three, I consider Melville’s Billy Budd and argue that Captain Vere’s decision to execute Billy must be understood in the context of racial capitalism and Vere’s history within the Caribbean. I also consider Billy as a figure who, emerging from the women’s periodicals discussed in chapter two, confounds the distinction between forms of masculinized and feminized labor within the Atlantic system. Finally, in chapter four, I look to two examples of literary realism and naturalism, Willa Cather’s O Pioneers! and Charles Chesnutt’s The Marrow of Tradition, and trace residual elements of maritime sensibility. I argue that maritime sensibility serves an imaginative resource in these two novels to interrogate and intervene in the historical reconfiguration of racial capitalism in the post-Reconstruction U.S. Acknowledgements In chapter four of this dissertation I cite the Italian Marxist Antonio Gramsci who wrote that within each of us history deposits an “infinity of traces, without leaving an inventory.” Here again, I find myself thinking of this quote as I attempt to thank all those whose guidance, care, and love exists as traces within this work. While the following inventory is necessarily incomplete (“the draught of a draught!”), I wish to thank the following people for their support during the composition of this dissertation. While it has been over a decade since our classes together, my first thanks go to Mary- Antoinette Smith and María Bullón-Fernández at Seattle University for introducing and welcoming me to the study of literature. This specific project began when, years later, I started my graduate study at Hunter College at the City University of New York. I first gained the confidence to pursue a doctoral degree after Jeremy Glick put a sticker of Gonzo on my term paper and encouraged me to be “PhD-bound.” This was a turning point for me and I am deeply grateful. For your various insights and mentorship, thanks to Marlene Hennessy, Jeffrey Allred, Richard Kaye, and Alan Vardy (and Alan’s family for sharing your home with me). Thanks to Neal Tolchin for sharing his near-exhaustive knowledge of Melville’s work. My deepest thanks to Sonali Perera for guiding me through my master’s thesis, showing me what a community of scholars could really look like, and for her brilliance, sharp sense of humor, and inspiring pedagogy. Thanks to Zach Fruit, Andrew Cedermark, and Cary Fitzgerald. I was so lucky to overlap with each of you during my time at Hunter—you were the best possible colleagues and now dear, dear friends. During my time at the University of Washington I had the opportunity to get to know, work with, and become friends with some of the most brilliant and kind people I have ever met. Thanks to Mandy McCourt, Elizabeth Boyle, and Claire Barwise for being my first friends and colleagues at UW. For your guidance throughout my time in coursework, thanks to Bob Abrams, Anis Bawarshi, Tom Foster, Gillian Harkins, Carolyn Allen, Moon-Ho Jung, Shirley Yee, and Lee Medevoi. For your camaraderie, thanks to Ahmad Alharthi, Raja Althobaiti, Andreas Bassett, Lindsey Beach, Dan Benson, Elizabeth Brasseale, Gust Burns, Joe Concannon, Jennifer Cuffman, Sumayyah Daud, David De La Rocha, Navid Ebrahimzadeh, Kelsey Fanning, Stephanie Gibbons, Kaelie Giffel, Alycia Gilbert, Laura Griffith, Chelsea Grimmer, Jennifer Haden, Brian Hardison, Zhenzhen He, Lydia Heberling, Jessica Holmes, Safi Karmy-Jones, Dino Kladouris, Caleb Knapp, Max Lane, Hsinmei Lin, Cameron Louie, Alex McCauley, Maria Mills, Caitlin Palo, Nicole Peters, Shane Peterson, Reuven Pinnata, Matt Poland, Caitlin Postal, Nolie Ramsey, Holly Shelton, Alex Smith, Nina Sobers, David Takamura, Zach Tavlin, Zach Torp, Sebastián Vergara, Ben Wirth and Dana Woodcock. Thanks to Ali Dahmer, Karen Wennerstrom, and Jake Huebsch for your constant support—our conversations were often a highlight of my day. I am thankful for the opportunity to be part of the Odegaard Writing and Research Center dissertation retreat led by Tait Bergstrom; a special shoutout to Kriya Velasco for helping me talk through early versions of chapter three during the retreat. I am so thankful to Michelle Dinh who had the idea to continue our retreat as a year-long meetup dissertation writing group. Thanks to the rest of the group: Matthew Howard, Laura De Vos, Elba Moise, Sumyat Thu, Yan Wang, and Rachel Schlotfeldt for bringing joy to each Wednesday as we caught-up, wrote in silence, and, occasionally, vented. Big thanks to Elliott Stevens for helping me track down materials for chapter two—you’ll be the first person I email if I ever find a copy of “Lake Champlain.” Teaching has always been a central passion of mine, and for showing me how it could be strengthened and eloquently linking to academic research, my thanks go to Candice Rai, John Webster, Julie Dykema, Denise Grollmus, AJ Burgin, Olivia Hernández, Emily George, Pam Robenolt, Rachael Dunn, Diamond Brown, Lisa Bruce, Corrine Shigeta, Jason Benscher, Jacki Fiscus, Patrick McGowan, Sara Lovett, Nanya Jhingran, TJ Walker, Alec Fisher, and Alex Meany. During my time teaching at UW I have been so fortunate to have 5+ years of sharing a learning environment with thoughtful and passionate students. Thanks to all my students, especially my students in my English 200 “Representing the Ocean” course. I am lucky to have worked with each of you. I would not have been able to finish my dissertation in 2020 if not for the support of the Phyllis F. and Donald E. Dorset Fellowship toward Dissertation Completion. Major lifelong thanks to David Kumler whose fellowship overlapped with mine; I so enjoyed waking up to catch early bird specials around town, talk about the status of our dissertations, and frantically try to finish them. To Lubna Alzaroo, I am so thankful for our friendship and time spent writing course curricula together—I was so relieved after finding out you were going to be on the same panel as me during my first academic conference. Major thanks to the rest of our dissertation group, Liz Janssen, Daniel Roberts, Belle Kim, and Kathleen Reeves, for reading drafts of my chapters and offering your invaluable insights—if parts of this dissertation are successful, it is because of your support. To the best committee: huge thanks to Shirley Yee, Jesse Oak Taylor, and Alys Weinbaum, you have all shaped my thinking more than you are probably aware. I could not ask for more brilliant and caring scholars on my committee. I owe my biggest, most heartfelt thanks to Eva Cherniavsky for her mentorship beginning with my very first quarter at UW. Thank you for agreeing to chair my dissertation and for your tireless support of me as a graduate student, a university employee, and a colleague. You should know that whenever groups of your students get together all we talk about is how lucky we are to work with you. Finally, this dissertation would not have been possible without the support of my various families. Thanks to the rest of my Seattle family: Sean O’Neill, Brandon Wirtz, Olga Rocheeva, Lisa van Dam-Bates, Lizzie St. Clair, Alex White, K Redden, Mike Sampson, Paulie Brown, Ashley Baird, my sister Jordyn Dargitz, Isaac Sommers, Taylor Rubright, Abe Friedman, Darryn Hewson and fam, Breonna Brown, Patrick Heard, and my literal day-one friend Brennan Thome. And to my New York family: Zach Fruit, Claudia Gerbracht, Leanne Bowes, Bobby Doherty, Ben Yarling, Larry Cardinal, Cary Fitzgerald, Andrew Cedermark, Carianne King, Banjo McLachlan, Katherine Mavridis, Bekah Shaughnessy, Ali Lewis, Erin Bartnett, Justin Cahill and the rest of the American Chordata fam, Caroline Henderson, Mary Han Chessen, Mike Last, Janice Scull, and Clint Gillenwater.
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