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Nation, Race, and the Invention of the American Magazine, 1830-1915

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Nation, Race, and the Invention of the American Magazine, 1830-1915 ABSTRACT CULTURAL RECONSTRUCTION: NATION, RACE, AND THE INVENTION OF THE AMERICAN MAGAZINE, 1830-1915 Reynolds J. Scott -Childress, Doctor of Philosophy, 2003 Dissertation Directed by Professor James B. Gilbert, Department of History Cultural Reconstruction asks: How did the U.S. develop a national culture simultaneously unified and fractured by race? The little -examined history of American magazines offers a vital clue. The dissertation’s first part demonstrates how post – Jacksonian American culturists, deeply disturbed by the divisive partisanship of “male” politics, turned to the “female” culture of sentimentality with the hope of creating a coherent and inclusive nation. These culturists believed a nationally circulating magazine would be the medium of that culture. This belief derived from the wide success of the penny press revolution of the 1830s. Cutting against the traditional reading of the penny press, Cultural Reconstruction claims that newspapers were a major proponent of sentimentality but were barred from creating a national audience by their intense local appeal. Antebellum magazinists, from Edgar Allen Poe to James Russell Lowell, attempted to adapt the sentimental worldview of the penny press to a national audience, but were frustrated by a series of cultural rifts expressed chiefly in gendered terms. Part two of the dissertation examines how the post –Civil War magazine furthered the project of sentimentality and became the leading medium of national culture. Responding to the 1870s collapse of Political Reconstruction, editors such as Richard Watson Gilder at the Century employed a series of innovative aesthetic strategies —greater realism, local color, and regional dialect —believing they were creating a cultural panora ma of American life. But this project of reconstruction was riven by two fundamentally conflicting visions of American identity: the regional versus the racial. The dissertation explores correspondence between Northern magazinists and white and black Southern authors (George Washington Cable, Charles Chesnutt, Paul Laurence Dunbar, and Thomas Nelson Page) to reveal how race won out: Northern editors helped invent and popularize “Southern” memories of the Old South and the Civil War. In the process, the magazines nationalized white Southern conceptions of racial separation and prepared the way for the explosive nationwide reaction to the 1915 film The Birth of a Nation. Cultural Reconstruction shows how twentieth -century American national unity was paradoxically bound up in racial division. CULTURAL RECONSTRUCTION: NATION, RACE, AND THE INVENTION OF THE AMERICAN MAGAZINE, 1830-1915 by Reynolds J. Scott -Childress Dissertation submitted to the Faculty of the Graduate School of the Universi ty of Maryland in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2003 Advisory Committee: Professor James B. Gilbert, Chair Professor Elsa Barkley Brown Professor Gary Gerstle Professor David Grimsted Professor Carla Peterson © 2003 by Reynolds J. Scott -Childress TABLE OF CONTENTS Introduction. Forgetting the Magazine: The Birth of a National Culture 1 Part I The Rise of Sentimental Public Culture 1. The Fall of the Millennial Nation: The Fa ilure of the 31 Atlantic Cable and the Coming of the Civil War 2. Printing Urban Society: The Social Imagination and 57 the Rise of the Daily Newspaper 3. The Whole Tendency of the Age Is Magazineward: 100 The Post -Jacksonian Magazine and National Culture Part II Cultural Reconstruction: The American Magazine 4. Competing for Culture: The Rise of the General Magazine 150 5. The Evolution of Magazine Culture: Sentimentality, 210 Class, and the Editors of Scribner's : 6. The Genre of Sentimental Re alism: The Thematics, 262 Stylistics, and Form of the Postbellum Magazine 7. Cultural Reconstruction: National Unity and Racial 310 Division in the American Magazine 8. From Local Color to Racial Color: The Century 382 and African American Authors 9. A Hazard of New Cultures 452 Bibliography 478 ii Introduction Forgetting the Magazine: The Birth of a National Culture The Birth of a Nation is the minotaur of race in the labyrinth of American popular culture. Hailed as the greatest movie ever made and as the founding moment of American cinema, D.W. Griffith’s 1915 movie has also been reviled by multiple commentators, critics, and historians down to the present day as a vicious racist diatribe. So gnarled are these two elements of criticism that they frequently appear not only in a single critic’s work, but sometimes within the space of a single paragraph and even within a single sentence. Commentators have grappled with the seemingly intractable problem of explaining why this technological and aest hetic marvel, this big bang of American popular culture, had to be polluted by the grisly fantasy of the founding of the Ku Klux Klan to avenge the suicide of a young white Southern girl escaping from a renegade black Union Army soldier. But in attempting to make sense of the movie, contemporary critics and latter - day historians, oddly, have severely limited their search for understanding to two individuals associated with the movie. They either blame director Griffith as a militant, unreconstructed Southerner, or they absolve him (and thereby secure his place as the founder of American cinema) by blaming the radical Southern racist Thomas Dixon, Jr., the author of the book and play on which Griffith based the second half of the movie. Neither strategy has been very successful. Those who vindicate Griffith have had to perform a wide variety of rhetorical contortions. They have absolved Griffith by excusing his “unconscious racism.” Or they have posited that he was not responsible for 1 the film’s “pernicio us... detachable content.” Or they have claimed that Griffith at least modified “the exaggerations of a foolish and incompetent writer, Thomas Dixon, Jr.” Or they have histrionically slammed Dixon: “Birth of a Nation is pure Dixon, all Dixon!” 1 Those critics and historians who excoriate Griffith have sought the origins of the story in his personal history. Claiming that great directors are the sole creators of their films, this latter school of criticism has dug into Griffith’s Kentucky youth, mucked about in his relationship with his Confederate -veteran father, and scrounged around in his love life to divine the psycho-sexual complexes that impelled him to glorify the KKK’s defense of white Southern womanhood. In other words, historians and critics have intensively focused on the minotaur of the movie and its creator without considering the cultural labyrinth which they inhabited. To some extent this is due to the vast achievement of Griffith’s virtual invention of the modern cinema. Consider the awe of James Agee, a usually circumspect critic: “To watch his work is like being witness to the beginning of melody, or the first conscious use of the lever or the wheel; the emergence, coordination, and first eloquence of language; the birth of an art; and to realize that this is all the work of one man.” But the minotaur did not build the labyrinth he inhabited. The themes and figures that seem, due to the new technological medium of film, so fresh in The Birth of a Nation were in fact quite well -established long before 1915. Critics and historians have had a hard time seeing this because the medium that established these themes and figures in American culture has been largely invisible from historical sight. The seeds of The Birth of a Nation were actually planted seven decades earlier with the advent of the American magazine. 1Everett Carter, “Cultural History Written with Lightning: The Significance of The Birth of a Nation ,” American Quarterly 12 (1960): 347 -57, reprinted in Fred Silva, ed., Focus on “The Birth of a Nation” (Englewood Cliffs, N.J.: Prentice -Hall, 1971): 141; Fred Silva, “Introduction,” in Focus on “The Birth of a Nation,” 7; John Hope Franklin, “‘Birth of a Nation’ —Propaganda as History,” Massachusetts Review 20 (1979): 422. 2 In the 1840s, a growing coterie of American nationalists became exceedingly anxious over the fate of the country. Young America, Boston and Cambridge intellectuals, Southern Loco -foco Democrats, and literary Whigs argued whether the nation was on the verge of collapse because it had developed no culture of its own. Despondent over the state of American books and newspapers, they formulated grand plans to invent the magazine as a medium through which they could forge a unique national culture. The goal of this dissertation is to explain how their dreams became the nightmare of The Birth of a Nation. Discovering the Magazine Long before The Birth of a Nation, Mark Twain’s The Ad ventures of Huckleberry Finn had offered a completely different vision of the potential for race relations in the South. It pointed, albeit in a confused way, to the possibility of black and white cooperation in the formation of a post -emancipation culture. As significant as this possibility was for American literature and life, it was also an integral moment in the development of the magazine as the medium of national culture. Huck began his literary life as a series of excerpts in a magazine. So too did such realist novels as Howells’s The Rise of Silas Lapham and and James’s The Bostonians. Not only did all three of these works first appear as serials in a magazine, installments of each appeared in a single issue of one magazine, the Century . Bernard DeVoto called this issue of the Century the moment when “American journalism attained its highest reach.”2 Yet, while some critics have echoed that sentiment, none has dared consider the ramifications of the periodical production of American literature. Literary scholars have long been prejudiced in favor of the novel form. Take the case of even so astute a critic as Amy Kaplan, in her The Social Construction of American 2Cited in Kenneth H.
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