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Politics, Identity and Humor in the Work of Langston Hughes, Zora Neale Hurston, Sholem Aleichem and Mordkhe Spector

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Politics, Identity and Humor in the Work of Langston Hughes, Zora Neale Hurston, Sholem Aleichem and Mordkhe Spector The Artist and the Folk: Politics, Identity and Humor in the Work of Langston Hughes, Zora Neale Hurston, Sholem Aleichem and Mordkhe Spector by Alexandra Hoffman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in The University of Michigan 2012 Doctoral Committee: Professor Anita Norich, Chair Professor Sandra Gunning Associate Professor Mikhail Krutikov Associate Professor Christi Merrill Associate Professor Joshua Miller Acknowledgements I am delighted that the writing process was only occasionally a lonely affair, since I’ve had the privilege of having a generous committee, a great range of inspiring instructors and fellow graduate students, and intelligent students. The burden of producing an original piece of scholarship was made less daunting through collaboration with these wonderful people. In many ways this text is a web I weaved out of the combination of our thoughts, expressions, arguments and conversations. I thank Professor Sandra Gunning for her encouragement, her commitment to interdisciplinarity, and her practical guidance; she never made me doubt that what I’m doing is important. I thank Professor Mikhail Krutikov for his seemingly boundless references, broad vision, for introducing me to the oral history project in Ukraine, and for his laughter. I thank Professor Christi Merrill for challenging as well as reassuring me in reading and writing theory, for being interested in humor, and for being creative in not only the academic sphere. I thank Professor Joshua Miller for his kind and engaged reading, his comparative work, and his supportive advice. Professor Anita Norich has been a reliable and encouraging mentor from the start; I thank her for her careful reading and challenging comments, and for making Ann Arbor feel more like home. I look to both Anita and Sandra as models of women academics in their meticulous scholarship, caring instruction, and genuine characters; I want to be just like them when I finally grow up. ii Professor Thomas Loebel of York University bears some of the blame for this project, since it was conceived in his Undergraduate seminar on the Harlem Renaissance. Tom’s brilliant and ethical approach to reading and writing continues to be an inspiration. Vera Szabo has been a wonderful teacher and a loyal friend. I cannot thank her enough for opening up the world of Yiddish to me in ways much more profound than needed for my research. It is a great honor to be following in her footsteps. Teaching Yiddish has been rewarding in many ways, and I thank my students for their earnestness and commitment. The support and solidarity of other graduate students has been invaluable. I thank Oren Segal for helping me to bring masochism back into the dissertation through introducing me to Deleuze’s theorization of it. I thank Sara Feldman for her companionship and for organizing a dissertation working group, as well as for introducing me to local politics. I thank Benjamin Pollak for his friendship and his generous and brilliant editing of my writing; our conversations through the years have enriched my scholarship profoundly and provided comfort and entertainment. Orian Zakai has been such a consistent presence in my life this past year that it is difficult to think what not to thank her for. Our community organizing project encouraged me to think about the ways in which a humanities education may make a real difference. For your love, care, reassurance, steadfastness, brilliance and wisdom, I am forever grateful, my sister. I am grateful to James McLenathen for his friendship and for making music accessible to me. I thank Anthony Hinkelman for helping with revisions. I thank Anton Khramov for being there, for believing in me and for supporting me in the most difficult times. And I thank my mother for making me want to make her happy. iii Table of Contents Acknowledgements.............................................................................................................ii Abstract................................................................................................................................v Chapter I: Introduction: When Hegel is Funny…………………………………...……….1 Chapter II: Harlem, USA, 1926: Generational Divide and the Uses of the Folk in Fire!! ...........................................................................................................................................24 Periodicals, Anthologies, Little Magazines and the New Negro...........................28 The New Negro and the New Generation .............................................................38 Framing the New Negro ........................................................................................45 épater le bourgeois: Framing Fire!!.......................................................................54 The Radical New Negro and Cooperatives ...........................................................70 To Conclude: Infants of the Spring and the Racial Mountain ..............................76 Chapter III: Czarist Russia, 1888: Generational Divide and the Uses of the Folk in Yidishe Folks-bibliotek ......................................................................................................79 What language can the folk speak? .......................................................................85 Nurturing the Folk: Framing the Yidishe Folks-bibliotek .....................................95 Conclusion...........................................................................................................109 Chapter IV: Round-Trip: The Liberating Constraints of Diasporic Literature ...............112 Diaspora in Training: On routes and roots ..........................................................112 Railroad and Borders of Empire and Nation ...................................................... 121 The City Limits: Mordkhe Spector's “Rayze-bilder” (1886) ..............................130 The Train as a Narrative Space in Sholem Aleichem’s Ayznban geshikhtes (1902- 1911) ...................................................................................................................144 Out of the Trains and into the Cars: Hurston’s “Color Struck” (1926) ..............150 Hughes: Futurist Diaspora in “Railroad Avenue” (1926) ...................................159 Capture the Rapture: on time ..............................................................................166 Appendix ............................................................................................................ 174 Chapter V: Irreverent Piety: Ironic Relations to the Divine ...........................................176 Hurston’s Revisions of Biblical Narrative ..........................................................182 Langston Hughes’s Socialist Aesthetics .............................................................200 Mordkhe Spector’s Unholy Besht .......................................................................217 Sholem Aleichem’s Disappointed Tevye ............................................................228 To Conclude: Imitation between representation and solidarity ......................... 243 Chapter VI: Coda: Eat, Drink, and Be Merry ................................................................ 247 Bibliography ...................................................................................................................254 iv Abstract This dissertation analyzes the complex relationship between the author and the folk in the work of Zora Neale Hurston, Langston Hughes, Sholem Aleichem and Mordkhe Spector. In investigating politics, identity and humor within this relationship, I place much weight on the concept of laughter through tears, a mode of representation where oppressive reality is refracted through humor. Laughter through tears as a mode of representation is a particular political and psychological strategy which models a way towards pleasure within a reality that is all too painful. The aesthetic it engenders is a masochistic one, where the release of laughter comes not from the pain of reality, but rather from the control one has over its representation. The dissertation also seeks to extend the conversation between Russian Jewish and African American literary scholarship. These two identity-based fields continually ask questions about otherness and identity, about diaspora and belonging, about dialect and its representation, about movement, migration, upward mobility, political efficacy, assimilation, self-loathing, communal responsibility. Through bringing some of these questions together I hope to elucidate the various strategies that minority artists use in approaching the folk that is both their subject and their audience. Sholem Aleichem and Mordkhe Spector in Russia and Zora Neale Hurston and Langston Hughes in America posit themselves as a new generation, and so the texts I analyze do not stand alone. They always need a parent, a serious or satirical counterpart, and the generational positioning of the authors reveals not only a conscious attempt at v canonization, but also the dependence of a humorist on solemn representation as a backdrop to his/her own art. The new generation writers’ work reveals that even the serious claims are never safe. Their humor explicitly disturbs the equation of reality and realistic representation; it creates unease and tension, as opposed to catharsis. Following the introduction which provides some of the theoretical background for
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