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Erotic Poetics: Love and the Function of Us Literature from Melville to Modernism

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Erotic Poetics: Love and the Function of Us Literature from Melville to Modernism EROTIC POETICS: LOVE AND THE FUNCTION OF US LITERATURE FROM MELVILLE TO MODERNISM by Racheal Forlow B.A. in English and Creative Writing, Binghamton University, 2005 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Racheal Forlow It was defended on March 30, 2015 and approved by Jonathan Arac, Andrew W. Mellon Professor, English William D. Scott, Associate Professor, English Bruce Robbins, Old Dominion Foundation Professor, English Dissertation Advisor: Paul A. Bové, Distinguished Professor, English ii Copyright © by Racheal Forlow 2015 iii EROTIC POETICS: LOVE AND THE FUNCTION OF US LITERATURE FROM MELVILLE TO MODERNISM Racheal Forlow, PhD University of Pittsburgh, 2015 The dissertation argues Herman Melville, Walt Whitman, Jean Toomer, and Wallace Stevens belong to a genealogy of what I call “erotic poetics.” I use these terms to identify the common set of resources I believe these writers leave to the present. For this genealogy, “poetry”—from the Greek poesis (to make)—encompasses the expansive set of enterprises by which humans create and transform ourselves and our worlds in time. These writers also consider human love, or eros, a category worthy of attention when questions of self- and world-making are at stake. I argue the genealogy of “erotic poetics” develops a historical, material, and secular vision of human life grounded in these terms. I trace its continuities and ruptures by making observations about the language, formal innovations, and historical circumstances of several significant American novels and poems, including “Song of Myself,” Pierre; or the Ambiguities, and Cane. In each chapter, I turn these observations toward a set of contemporary challenges we face today in the US and elsewhere. These include democratic crises at home and abroad, the ecological disasters we associate with climate change, and the struggles for liberty that continue to take shape in opposition to an ongoing history of race violence in the US. The dissertation argues we can best approach these problems if we view human life in the ways the tradition of imaginative literary writing I identify offers. Although many critics have found in these writers’ works materials that support projects of mythic nationalism, I argue the tradition to which they belong also contains elements that destroy those projects. The dissertation identifies iv these elements and suggests they are of special value today. The genealogy gives us ways to challenge those who continue to insist humans should not interfere with the powerful and invisible forces many argue we cannot influence. v TABLE OF CONTENTS ACKNOWLEDGEMENTS ..................................................................................................... VII 1.0 INTRODUCTION: EROTIC POETICS AND THE FUTURE .............................. 1 2.0 CONTEMPORARY DEMOCRACY AND WALT WHITMAN’S POETICS OF LOVE .......................................................................................................................... 25 3.0 HERMAN MELVILLE’S EROTICS OF READING ........................................... 56 4.0 BELOVED LANGUAGE AND HISTORICAL VIOLENCE IN JEAN TOOMER’S CANE ................................................................................................... 94 5.0 WALLACE STEVENS’ LOVE POEMS FOR THE EARTH ............................ 141 BIBLIOGRAPHY ......................................................................................................................198 NOTES .......................................................................................................................................216 vi ACKNOWLEDGEMENTS I want to thank William V. Spanos first. More than a decade ago, Bill taught me how to read what we call “theory” and how to use the word “metaphysical” as an epithet. He introduced me to ways of thinking that transformed me. When I started writing the dissertation, I wanted most to understand why literary study matters today. I think I now know. I owe this and more to my committee of readers. Jonathan Arac shared his extraordinary knowledge of American history and criticism, read my words with care, and encouraged me to say something important. Bill Scott listened when I voiced doubts and offered sound counsel on all matters. In early stages, Bruce Robbins responded generously to difficult questions and suggested productive limits. Doktorvater Paul A. Bové deserves special thanks. For years, he has encouraged me to identify questions worth asking and to respond to them with love for the world. He taught me how to read literary texts. One day, he will win his war on the passive voice. I am also grateful for the support the University of Pittsburgh and the community I have known here offered. Pre-doctoral fellowships from the Richard C. and Barbara N. Tobias Memorial Fund and the Andrew W. Mellon Foundation made the project possible. Teachers, colleagues, and friends made the life of a graduate student in the humanities a joy to live, even in difficult times. For animating courses, I thank Ronald Judy, Don Bialostosky, Marcia Landy, and Giuseppina Mecchia. At Pitt, I have been lucky to talk with Amy, Kirsten, Shelagh, Adri, vii Danielle, Ryan, Usha, Jen, Liam, Molly, Katherine, Kate, Kathleen, Kristy, Jess, and so many others. I have thought often these past years of good times spent with Denege Paderewski, Leah Bicknell, Lauren Leudemann, Jenna Keener, Shiloh Thomas, Erin Wahler, Alex Jamon, and more. I owe my deepest thanks to my family. Mom and Dad still offer unflagging encouragement. Mary Hallow Kapusinsky inspires with youth and virtue. Janet and Ted Forlow continue to show me how to live an ethical and passionate life. Brad Fest knows what these pages owe to his love, energy, and conversation. He knows what words can’t say. I dedicate this dissertation to my mother, Christina Marie Forlow. She continues to teach me all about love. viii 1.0 INTRODUCTION: EROTIC POETICS AND THE FUTURE In President Obama’s 2015 State of the Union address, he describes our present as a pivotal moment. The US has in recent years faced “terror touching our shores,” fought “two long and costly wars,” and seen “a vicious recession.”1 The present, Obama admits, is “a hard time for many.” Despite these challenges, however, Obama believes the US can “turn the page” on the past. He urges Americans to turn our hopeful and creative energies toward the future: “At this moment—with a growing economy, shrinking deficits, bustling industry, booming energy production—we have risen from recession freer to write our own future than any other nation on Earth. It’s now up to us to choose who we want to be over the next 15 years and for decades to come.” Obama encourages us to be decisive, and he does so by orienting us in time. He sets aside the troubles of the past, points us toward the future, and invites us to see the present as the crucial moment for action. He claims we enjoy a special, creative liberty right now, and urges us to recognize our human power to shape (or “write”) our world. In the face of perpetual war, mounting economic inequality, and fundamentalist violence, it is difficult to agree with Obama that we have “turned the page” on the global challenges contemporary political and economic conditions produce. It also seems unlikely we are freer than ever before. Yet, Obama seems right to suggest these conditions demand we pose anew a familiar set of questions. What kind of futures do we want, and how do we create them? How does the present look from the perspective of a future our actions might create? This mode of 1 inquiry has always been popular in the US.2 More broadly, it has distinguished the ways the West thinks about and organizes human life in “modernity,” as Hans Robert Jauss argues in his careful etymological study of the concept.3 If we still believe this way of understanding human activity serves us, modernity’s questions seem as urgent as ever. The dissertation responds to the vital questions present inequalities and dangers provoke through a sustained engagement with American literary writing. The project suggests the works of American writers of the mid-nineteenth and early twentieth centuries might today animate attempts to imagine and create worlds contemporary challenges, to which I return in a moment, foreclose. The dissertation’s title—“Erotic Poetics”—names the resources I believe a genealogy of American literary writing leaves to such projects. I argue Walt Whitman, Herman Melville, Jean Toomer, and Wallace Stevens develop a sense of “poetic” activity that can serve attempts to imagine increasingly democratic futures. For Whitman and the others, “poetry”—from the Greek poesis (to make)4—names the expansive enterprise by which humans create and transform ourselves and our worlds in time. Poetic activity, these writers suggest in different ways, requires the human faculties and capacities we associate with imagination, emotion, and the senses. Each therefore considers human love, or eros, a category worthy of attention when questions of poesis—of self- and world-making—are at stake. These writers differ from those who argue violence and torture, on the one hand, or reason and technology, on the other, are privileged categories of human enterprise. I return to both of these conceptual
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