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Common Knowledge: the Epistemology of American Realism City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Common Knowledge: The Epistemology of American Realism Mark Sussman Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/115 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] COMMON KNOWLEDGE: THE EPISTEMOLOGY OF AMERICAN REALISM by MARK SUSSMAN A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the Degree of Doctor of Philosophy, the City University of New York 2014 i © 2014 MARK SUSSMAN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. John Brenkman _____________ __________________________________ Date Chair of Examining Committee Carrie Hintz _____________ ___________________________________ Date Acting Executive Officer Morris Dickstein Wayne Koestenbaum Supervisory Committee iii THE CITY UNIVERSITY OF NEW YORK Abstract COMMON KNOWLEDGE: THE EPISTEMOLOGY OF AMERICAN REALISM by MARK SUSSMAN My dissertation, Common Knowledge: The Epistemology of American Realism, focuses on realist fiction (primarily the novel) at the end of the nineteenth century. Its motivating claim is that the central descriptive and thematic imperative of realism—to depict life “as it is” rather than in some idealized form—emerged in response to crises in the status of knowledge that resulted from an attempt by writers and readers to come to a common understanding of the relationship between private experience and an increasingly fragmented social world. While William Dean Howells’s definition of realism as a form of writing that displays “fidelity to experience and probability of motive” assumes a correspondence between writing and the real, my dissertation argues that realism’s primary aesthetic achievement was its response to a pervasive sense of epistemological uncertainty. Accordingly, Common Knowledge engages the tensions embodied in interpenetrating depictions of social conflict and shared knowledge. On one hand, much recent scholarship has been devoted to demonstrating realism’s commitment to documenting the intensified class conflict characteristic of the last decade of the nineteenth century. On the other hand, much scholarship has also been dedicated to portraying realism as an articulation of bourgeois gentility that remained largely ignorant of the stakes of such conflicts. In studies of the novels of Howells, Henry James, Harold Frederic, and Charles Chesnutt, I attempt to synthesize those two interpretations of American realism, preferring to read oscillations between social concern and reified class privilege as indications of a fundamental iv ambivalence about the reliability of social knowledge. Common Knowledge entwines readings of fiction with elaborations on the critical, technological, and aesthetic discourses of epistemological uncertainty that emerge from them, documenting how recognitions of socio- economic, racial, and ontological difference both rely on and throw into question the possibility of a shared knowledge of the world. v ACKNOWLEDGMENTS Here’s something about the dissertation you don’t know until it’s too late: when you start writing one, you have no idea how to do it. Accordingly, the process of writing the dissertation was (for me anyway) as much improvisation as it was the result of careful planning, as much retrospective amazement (I can’t believe I actually finished that chapter!) as it was methodical and scholarly elucidation. No one writes anything of this length alone, and a host of people both at the Graduate Center and beyond its walls deserve acknowledgment. John Brenkman’s example as a thinker and writer animates much of Common Knowledge. I am privileged to have worked with him and to count him as a friend. Morris Dickstein often asked the questions I spent pages trying to avoid—his constructive criticism brought the project back down to earth when it risked crash-landing on Mars. Everyone should have Wayne Koestenbaum read their writing at least once before they die. I remain grateful that he was willing to read mine many times, and to comment on it with such sinuous intelligence and occasionally shocking detail. Carrie Hintz provided moral support, solid advice, and laughs throughout my time at the Graduate Center. At the University of Arizona, Eric Hayot first made me think I might do well in grad school—his writing, teaching, and generosity remain inspiring. Elizabeth Alsop, James Arnett, Abe Rubin, and Jonah Westerman read parts of this dissertation and helped me think through and talk out ideas during crucial stages of its development. Zach Samalin’s wit and friendship were indispensable. A fellowship funded by the Andrew W. Mellon Foundation and distributed through the Center for the Humanities at the Graduate Center gave me time to finish this dissertation. vi Cristina Alfar and Hunter College’s English Department not only allowed me to teach advanced courses in American literature to its undergraduates, but also provided a teaching fellowship that helped me to complete early stages of this project. Thom Taylor’s superhuman competence helps make teaching at Hunter a joy. Parts of this dissertation were presented at conferences and panels hosted by New York University’s Colloquium on American Literature and Culture, the Henry James Society, and the Charles W. Chesnutt Society. The incisive questions and comments by panelists and conference participants improved the finished product immensely. This dissertation would have been impossible without the love and encouragement of my grandparents, Ethel, George, Rae, and Mike. I will always regret that they did not live to see its completion. Howard Goldstein’s support kept me going through the rough patches. My brother and parents made their mark on what follows through their unstinting and gentle (though occasionally baffled) exhortations to get it done already. Jessica Suarez is responsible for whatever is good in here, though she may not realize the extent to which her brilliance, humor, and love influenced the final product. This is for her. vii TABLE OF CONTENTS Chapter One Introduction: Realism and the Epistemological Imaginary ……………………………………... 1 Chapter Two Tenement Aesthetics: Knowing the Poor in A Hazard of New Fortunes ……………………… 23 Chapter Three Manners, Motives, and the Novel: Cynicism and Literary Modernity in The Damnation of Theron Ware …………………………………………………………………………………… 67 Chapter Four “The Knowledge of Correct Standards”: Charles Chesnutt, Miscegenation, and Realism’s Writing Systems ……………………………………………………………………………… 120 Chapter Five The High Brave Art: Materialism and the Epistemology of Dictation in What Maisie Knew .. 174 Chapter Six Conclusion: Realism, Modernism, and the Transcription of Literary History ……………….. 223 Works Cited ……………………………………………………………………………………232 viii Chapter 1 Introduction: Realism and the Epistemological Imaginary Toward the beginning of Henry James's short story "The Real Thing” (1892), his narrator, a portrait painter looking to illustrate the cover of a new book, speaking of a good-looking couple hard up for money who comes to him asking for work as models, says, I didn't easily believe in them. After all they were amateurs, and the ruling passion of my life was the detestation of the amateur. Combined with this was another perversity—an innate preference for the represented subject over the real one: the defect of the real one was so apt to be a lack of representation. I liked things that appeared; then one was sure. Whether they were or not was a subordinate and almost always a profitless question (Major Stories 235). Here James and his narrator deal with the question of painterly realism handily enough, through the subordination of what "is" real to the appearance of realness, or, more to the point, to appearance itself, all in the name of profit. The amateur model's amateurism is a result not of an inability to look real (or perhaps to "act natural") but to "appear" to look real. The "appearance" of the thing rather than the thing itself serves as a safeguard for James's painter—one can be sure of the representation's fidelity to its status as an "appearance," but not, the narrator implies, of mimetic exactitude, of itself as an aesthetic object measured against the world. Reality, then, a notion of things "as they are," falls away in favor of a model that favors things as they appear, or, better, things as appearances. So much the better for art, or rather so much to art's "profit," that our models share the mode of appearance with the medium in which the artist means to represent them. The gains made by James's portrait painter and his "perverse" hunger for appearance rather than reality provoke a further question: what is appearance? For James's narrator, again, the object's attitude 1 provides an answer: "she sat with great intensity, giving the whole of her mind to it, and was capable of remaining for an hour almost as motionless as if she were before a photographer's lens. I could see she had been photographed often, but somehow the very habit that made her good for that purpose unfitted her for mine" (241). That is, the model's fitness for the exactitude of photography renders her unfit for painting as a representational mode in which the inability to "appear" is a "defect." The "intensity," perhaps the model's stillness or concentration, correlates to her lack of a "variety of expression," hence, "she was the real thing but always the same thing." The real thing can "be" real when it is "always the same," but will not "appear" as real because the "appearance" of the real thing is always different. Repetition without a difference (that is, for Henry James as for his brother William, the activity of "habit" itself) signals a flaw in "appearance," an unfitness for painterly representation.
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