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Vol. 4, No. 2 (2000): Full Issue Journal X Volume 4 Number 2 Spring 2000 Article 8 2020 Vol. 4, No. 2 (2000): Full issue Journal Editors Follow this and additional works at: https://egrove.olemiss.edu/jx Recommended Citation Editors, Journal (2020) "Vol. 4, No. 2 (2000): Full issue," Journal X: Vol. 4 : No. 2 , Article 8. Available at: https://egrove.olemiss.edu/jx/vol4/iss2/8 This Complete Issue is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Journal X by an authorized editor of eGrove. For more information, please contact [email protected]. Editors: Vol. 4, No. 2 (2000): Full issue a journal in culture & criticism Journal X • Volume 4 • Number 2 Spring 2000 Narrative Desire in Ann Petry's The Street Kari J. Winter "Straight From Your Heart": Convention, Sincerity, and Sexuality in Donne's Early Verse Letters Ben Saunders "Betwixt and Between": Dismantling Race in My Great, Wide, Beautiful World Cathryn Halverson Alice is Not Hysterical Anymore: Revision and History in Joan Schenkar's Signs of Life C. E. Atkins The Deconstructure of the Canterbury Tales Elizabeth Scala Reading for Pleasure (Essay Review): Why Biography? Robert L. Mack Published by eGrove, 2020 1 Journal X, Vol. 4 [2020], No. 2, Art. 8 Volume 4 • Number 2 • Spring 2000 CONTENTS Narrative Desire in Ann Petry's The Street Kari J. Winter 101 "Straight From Your Heart": Convention, Sincerity, and Sexuality in Donne's Early Verse Letters Ben Saunders 113 "Betwixt and Between": Dismantling Race in My Great, Wide, Beautiful World Cathryn Halverson 133 Alice is Not Hysterical Anymore: Revision and History in Joan Schenkar's Signs of Life C. E. Atkins 159 The Deconstructure of the Canterbury Tales Elizabeth Scala 171 Reading for Pleasure (Essay Review): Why Biography? Robert L. Mack 191 https://egrove.olemiss.edu/jx/vol4/iss2/8 2 Editors: Vol. 4, No. 2 (2000): Full issue Published by eGrove, 2020 3 Journal X, Vol. 4 [2020], No. 2, Art. 8 Ivo Kamps and Jay Watson, editors Donald Kartiganer, advisory editor Advisory Board Sharon Achinstein, U ofMaryland Brian May, U of North Texas John Archer, U ofNew Hampshire Michael Valdez Moses, Duke U Ann Ardis, U ofDel aware Viet Thanh Nguyen, U of Southern Andrew Barnaby, U of Vermont California Lindon Barrett, U of California, Irvine Robert Dale Parker, U of Illinois, Ian Baucom, Duke U Champaign-Urbana Christopher Beach, U of California, Irvine Judith Pascoe, U ofIowa Richard Begam, U of Wisconsin Yopie Prins, U ofMi chigan Nancy Bentley, U of Pennsylvania Judith Roof, Michigan SU Nicholas Bromell, U ofMassa chusetts Anindyo Roy, Colby College Douglas Bruster, U of Texas, San Antonio Peter Schmidt, Swathmore College Deborah Clarke, Pennsylvania State U Lisa Schnell, U of Vermont Gwen E. Crane, SUNY, Oneonta College Jyotsna Singh, Michigan State U Roland Greene, U of Oregon Kristina K. Straub, Carnegie-Mellon U Minrose C. Gwin, U ofNew Mexico Jennifer Summit, Stanford U James C. Hall, U ofIl linois, Chicago Calvin Thomas, Georgia SU Allan Hepburn, McGill U Joseph Urgo, Bryant College Kevin Kopelson, U of Iowa Joseph Valente, U of Illinois, Champaign- Martin Kreiswirth, U of Western Ontario Urbana Richard Kroll, U of California, Irvine Candace Waid, Northwestern U Jeffrey Leak, U of North Carolina, Joseph P. Ward, U of Mississippi Charlotte Robyn Warhol, U of Vermont Jayne Lewis, U of California, Los Angeles Daniel E. Williams, U of Mississippi Ruth Lindeborg, Philadephia, PA Jeffrey Williams, U ofMi ssouri Tom Lutz, U of Iowa Patricia Yaeger, U of Michigan Robert Mack, U of Exeter Sarah Zimmerman, Fordham U John T. Matthews, Boston U Editorial Assistant & Business Manager: Frank Ridgway The editors of Jx invite submissions of scholarly and/or reflective essays on topics of interest to scholars working in the fields of English and American literary/cultural studies. Submissions should conform to the MLA Style Manual. Send two copies to The Editors, Journal x, Department of English, University of Mississippi, Box 1848, University, MS 38677-1848. Please include SASE. Submissions received in the months of June and July will be held for consideration in August. Journal x is published biannually in Fall and Spring by the Department of English of the University of Mississippi. Effective with volume 2, subscription rates are $8 (individuals) and $24 (institu­ tions). For all subscriptions outside US add $3 per year, remittance to be made by money order or check drawn on a US bank. Write to the Business Manager at the above address. Send e-mail to: [email protected]. Fax: 662 915 5787. Changes of address should be reported to the Business Manager. Journal x is set in Caslon typeface and printed on acid-free paper. The Jx logo was designed by Susan Lee. Visit Journal x on the World Wide Web: www.olemiss.edu/depts/english/pubs/jx Contents ©2000 by the University of Mississippi. ISSN: 0278-310X https://egrove.olemiss.edu/jx/vol4/iss2/8 4 Editors: Vol. 4, No. 2 (2000): Full issue Published by eGrove, 2020 5 Journal X, Vol. 4 [2020], No. 2, Art. 8 Narrative Desire in Ann Petry’s The Street Kari J. Winter Kari J. Winter, Associ­ At the origin of Narrative, desire. ate Professor of Eng­ —Roland Barthes, S/Z lish at the University The wind, in the opening scene of Ann Petry’s 1946 of Vermont, is the novel, The Street, is a November gale that assaults the author of Subjects of residents of Harlem with a barrage of paper, bones, Slavery, Agents of and garbage. It does “everything it [can] to discour­ Change: Women age the people walking along the street” (2). It push­ and Power in Gothic es dirt “into their noses, making it difficult to Novels and Slave breathe” (2). It thrusts dust into their eyes, lacerates their skin, entangles their feet, grabs their throats, Narratives, 1790- and fingers their necks, bodies, and eyeballs. The 1865 (U of Georgia P, wind is so forceful that Lutie Johnson, the novel’s 1992) and numerous protagonist, finds it almost impossible to read the articles on African- sign for which she has been searching (an advertise­ American and Ameri­ ment for a vacant apartment). When she blinks back can Indian literature. the grime and attempts to focus, the wind twists the sign away from her. The wind, of course, symbolizes the ubiquitous forces of economic oppression in Harlem that doom African Americans to poverty, degradation, and despair. Taking their cue from the wind, critics such as Bernard Bell have argued that Petry’s text is “a conventional novel of economic determinism in which the environment is the dominant force against which the characters must struggle to survive” (107). At first glance, this reading of The Street is largely persuasive. Petry shares the philosophical view of naturalism to the extent that she insists that human existence takes root and makes meaning in material conditions. Indeed, in an oft-quoted interview, Petry stated, “In The Street my aim is to show how simply https://egrove.olemiss.edu/jx/vol4/iss2/8 6 Editors: Vol. 4, No. 2 (2000): Full issue 102 Journal x and easily the environment can change the course of a person’s life” (“Ann Petry” 49). However, The Street also articulates a political critique that is absent from and inimical to the forms of economic determinism found in turn-of-the century naturalistic novels by authors such as Stephen Crane, Frank Norris, and Theodore Dreiser. Rather than viewing social conditions as natural and inevitable, Petry represents the streets of Harlem as the product of a specific history of white supremacism, patriarchy, and class oppression. If we read Petry’s emphasis on the importance of environment as an acknowledgment of the centrality of embodied experience in shaping human life, her attention to economic conditions can be seen as a strength rather than a crippling limitation of The Street, After the novel’s opening section depicts the role of economics in deter­ mining fife’s course, the narrative urges us to search for truths that reach beyond economics and environment. When Lutie is swept along by the wind (the force of her economic environment), her ability to read informative signs posted along the street is disrupted. To get where she wants to go, she must backtrack and reread. Similarly, Petry’s text, when reread, can be seen to exceed her stat­ ed intention by proposing complexities surpassing naturalism’s philosophical dead-end. The importance of reading beyond the constraints of economic determinism is illustrated in the way that critics who focus on determinism underread two of The Street's most original characters, Mrs. Hedges and Junto. Mrs. Hedges is a black woman of mythic stature who first encounters a white man named Mr. Junto on a cold hopeless night when they are both dig- ging through garbage cans in an alley. By joining forces in creative, pragmatic, and criminal activities, this unlikely pair builds an economic empire in Harlem. In physical appearance, Junto looks something like Dracula’s dwarfed assistant and Mrs. Hedges like Frankenstein’s creature. Despite appearances, however, Junto’s love for Mrs. Hedges is the book’s only example of enduring, soulful passion. “A wonderful woman, a wonderful woman!” Junto exclaims with pro­ found admiration every time anyone mentions Mrs. Hedges. Despite the fresh­ ness, originality, and gothic dimensions of characters such as Mrs. Hedges and Junto, Mary Helen Washington argues that Petry simply manipulates “charac­ ters to serve an ideological unf ction” (299-300).1 In a similar vein, Bell stereo­ types Junto as “the Jewish owner of the major clubs and whorehouses in the black community” (109), although the book never characterizes Junto as Jew­ ish.
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