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Documentary Modernism and the Modern Storyteller by Surveying the Field of American Literary Modernism During the First Half of the Twentieth Century

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Documentary Modernism and the Modern Storyteller by Surveying the Field of American Literary Modernism During the First Half of the Twentieth Century 1 DOCUMENTARY MODERNSIM AND THE MODERN STORYTELLER A dissertation presented by Tabitha Clark To The Department of English In partial fulfillment for the degree of Doctor of Philosophy in the field of English Northeastern University Boston, Massachusetts April 2016 2 DOCUMENTARY MODERNSIM AND THE MODERN STORYTELLER By Tabitha Clark ABSTRACT The Department of English submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of English in the College of Social Science and Humanities Northeastern University Boston, Massachusetts April 2016 3 This project considers select documentary realist photobooks and novels produced in American during the 1930s and 1940s in the context of American literary modernism. Beginning with Men at Work by Lewis Hine, I argue that American artists used a hybrid of documentary realist and literary modernist writing techniques to represent the complicated, and sometimes contradictory identity theories about race, labor, and class circulating in American popular discourse during the 1930s. My project also considers the novel Banjo by Claude McKay, Mules and Men by Zora Neale Hurston, and the photobook Twelve Million Black Voices by Richard Wright. By looking at these texts, and reading across lines of genre, my larger project attempts to uncover the ways that the term modernism has been used to flatten the historical, social, and cultural attitudes that informed artists during the first half of the twentieth century. I draw heavily from race theory and feminist theory to analyze how the use of a hybrid aesthetic I call documentary modernism allowed authors to articulate complicated and sometimes incomplete stories about race, gender, and class identity against the larger literary historical context of modernism. 4 ACKNOWLEDGEMENTS This project would not have been possible without the enduring support of my committee members and their commitment to excellent literary scholarship and research. I would like to first thank Carla Kaplan, who was the primary reason I applied to the English PhD program at Northeastern University in 2007. Carla has been my greatest champion, both professionally and personally, through these many years of class, exams, dissertation research, and drafting. I cannot over emphasize how important Carla’s scholarship has been to my understanding of literary modernism generally, and particularly the relationship between modernism, race, and women. Like Carla, Stuart Peterfreund has been involved with this project since its nascent beginnings during the field statements and preliminary examines. Stuart’s expertise on nineteenth and twentieth century American culture and popular discourse have been immensely helpful as this project progressed through the final stages. Throughout my time working with Stuart he has challenged me to be a better writer and researcher in ways that I hope to challenge my own students. Finally, I would be remiss to not recognize Theo Davis for her wonderful attention to this project despite the limited amount of time we’ve worked together. Theo’s interrogation of my terms, method, and arguments most certainly made this project stronger and more focused. This project has greatly benefited from her critical theory expertise and her encouragement to be more specific in the scope of my claims. Without the support of my peers, family, and friends, this dissertation also would not have been possible. Thank you, first, to my mother Kathleen Graceffa, who was my very first editor and critic. I cannot thank you enough for the patients and encouragement you gave to your dyslexic daughter, who never had your knack for spelling. Thank you, to my father Walter Clark 5 who pushed me to read the collected works of Robert Frost as a child instead of watching television. Also special thanks to my step-mother Mary Queeny-Clark, who taught me that doing something challenging is its own reward, regardless if you fail or succeed. To my friends I extend my boundless gratitude for reading so many drafts of this project over the years in dissertation writing groups, or just listening to me think about an idea over drinks. Your companionship has been one of the greatest rewards of my graduate experience. Thank you, Lana Cook for being an editor, a best friend, and amazing confidant. Thank you, to all my colleagues who have shaped my understanding of this project over the years: Laura Hartman, Victoria Pappa, Jim McGrath, Brent Griffin, Lauren Kuryloski, Genie Giaimo, Amanda Blair Runyan, Kristina Popiel, Richard Purcell, Michael Johnson, Tom Creasia,. 6 TABLE OF CONTENTS ABSTRACT 2 ACKNOWLEDGEMENTS 4 TABLE OF CONTENTS 6 INTRODUCTION 7 CHAPTER 1 Lewis Hine: Documenting American Transition 28 CHAPTER 2 Claude McKay’s Modern Storyteller 64 CHAPTER 3 Zora Neale Hurston: “My People!” and “Those People!” 95 CHAPTER 4 Richard Wright and Twelve Million Ways of Seeing 131 in Twelve Million Black Voices REFERENCES 169 7 Introduction In the second chapter of Virginia Woolf's A Room of One's Own (1928), she asks the reader, “Have you any notion how many books are written about women in the course of one year?... Are you aware that you are, perhaps, the most discussed animal in the universe?” (30). While perusing research on the subject of women and fiction, she finds that by 1928 men had written a great deal on the subject of women. But, as she combed the stacks of the British Museum, she also discovered an absence: women have burnt like beacons in all the works of all the poets from the beginning of time...Imaginatively she is of the highest importance; practically she is completely insignificant. She pervades poetry from cover to cover; she is all but absent from history. …Some of the most inspired words, some of the most profound thoughts in literature fall from her lips; in real life she could hardly read, could scarcely spell, and was the property of her husband. (Woolf 49-50) Woolf highlights the omnipresence of women in literature, particularly fiction, but also their utter erasure from history. She wonders, “at what age did she marry; how many children has she as a rule; what was her house like; had she a room to herself [?]” (52). In essence Woolf is looking for herself inside the formal, institutionalized canon of literature, and is dismayed at the “odd monster that one made up by reading the historians first and then the poets afterwards—a worm winded like an eagle; the spirit of life and beauty in a kitchen chopping up suet” (50-51). Woolf argues that who is portrayed in literature, and who gets to do the portraying, is vitally important to the future of meaning making, especially for those who have been historically denied access to 8 the tools of representation—legal representation and education. Writing about oneself, and cultivating that sense of self through the authorship of letters, diaries, fiction, recipes, photographs, and poetry provides an essential history of women in civilization that Woolf claims in lacking or absent. The lack of such intellectual heritage is related to the lack of economic independence for women during the eighteen century; Woolf questioned how one can locate, or claim, an intellectual heritage as female. We might extend this question to include people of color who have had very few social platforms from which to articulate any autonomous self that was not already marginalized by categories of gender, race, and class. Like the young, female narrator in A Room of One's Own, aspiring artists, critics, and scholars today encounter a heritage of literature, art, and other cultural material through collections, readers, and anthologies in the classroom. Anthologies as a genre have been criticized for sparse inclusion of women, or the thin sampling of people of color, especially in American academic criticism of the 1990s.1 There has since been backlash against this criticism, with arguments in defense of anthologies as a genre that reflects shifting critical attitudes towards tradition and aesthetics.2 Who is represented, and who is left out, in literary anthologies matters. The way we celebrate cultural diversity and ideological difference in a canon of cultural artifacts allows teachers and students to model the nuanced readings of audience, context, and authorial intent that modern readers need today. These readers must curate meaning and representation in an increasingly text heavy world via the written word and photographic message. 3 The ability to represent oneself through interconnected 1For more on the canon debate of the 1990s in American academia see Joseph Csicsila Canons by Consensus (2016) xvii-xx; and John Guillory’s Cultural Capital: The Problem of Literary Canon Formation (1993) 2 See Paul Lauter’s Canons and Contexts (1991) ix-x. 3Social media platforms like Twitter, Facebook, Snapchat, and Instagram all use a mixture of images and photographs alongside text to convey individual and collectivist attitudes, political protest, social critique, and cultural commentary. 9 webs of meaning, or not, carries political and social implications in public spaces. Now, more than ever, it is imperative to develop critical discussions of and pedagogical approaches to teaching literary historical periods like American modernism, because phenomena like mass immigration, racial unrest, and socioeconomic uncertainty continue to characterize our American society in 2016 as much as they did in the 1930s. I started the project Documentary Modernism and the Modern Storyteller by surveying the field of American
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