Xenocitizens

In Xenocitizens, Jason Berger returns to the antebellum United States in order to challenge a scholarly tradition based on liberal–humanist perspectives. Through the concept of the xenocitizen, a synthesis of the terms “xeno,” which connotes alien or stranger, and “citizen,” which signals a naturalized subject of a state, Berger uncovers realities and possibilities that have been foreclosed by dominant paradigms. Innovatively re-orienting our thinking about traditional nineteenth-century figures such as Ralph Waldo Emerson and Henry David Thoreau as well as formative writers such as William Wells Brown, Martin R. Delany, Margaret Fuller, and Harriet Beecher Stowe, Xenocitizens glimpses how antebellum thinkers formulated, in response to varying forms of oppression and crisis, startlingly unique ontological and social models as well as unfamiliar ways to exist and to leverage change. In doing so, Berger offers us a different nineteenth century—pushing our imaginative and critical thinking toward new terrain.

In Xenocitizens, Jason Berger returns to the antebellum United States in order to challenge a scholarly tradition based on liberal-humanist perspectives. Through the concept of xenocitizen, a synthesis of the terms "xeno," which connotes alien or stranger, and "citizen," which signals a naturalized subject of a state, Berger uncovers realities and possibilities that have been foreclosed by dominant paradigms. Innovatively reorienting our thinking about traditional nineteenth-century figures such as Ralph Waldo Emerson and Henry David Thoreau as well as formative writers such as William Wells Brown, Martin R. Delany, Margaret Fuller, and Harriet Beecher Stowe, Xenocitizens glimpses how antebellum thinkers formulated, in response to varying forms of oppression and crisis, startlingly unique ontological and social models as well as unfamiliar ways to exist and to leverage change. In doing so, Berger offers us a different nineteenth century--pushing our imaginative and critical thinking toward new terrain.

Novels are often said to help us understand how others think—especially when those others are profoundly different from us. When interpreting a character's behavior, readers are believed to make use of "Theory of Mind," the general human capacity to attribute mental states to other people. In many well-known nineteenth-century American novels, however, characters behave in ways that are opaque to readers, other characters, and even themselves, undermining efforts to explain their actions in terms of mental states like beliefs and intentions. Writing the Mind dives into these unintelligible moments to map the weaknesses of Theory of Mind and explore alternative frameworks for interpreting behavior. Through readings of authors such as Charles Brockden Brown, Herman Melville, Martin Delany, Harriet Beecher Stowe, Charles Chesnutt, and Mark Twain, Hannah Walser explains how experimental models of cognition lead to some of the strangest formal features of canonical American texts. These authors' attempts to found social life on something other than mental states not only invite us to revise our assumptions about the centrality of mind reading and empathy to the novel as a form; they can also help us understand more contemporary concepts in social cognition, including gaslighting and learned helplessness, with more conceptual rigor and historical depth.

What if the American experiment is twofold, encompassing both democracy and tyranny? That is the question at the core of this book, which traces some of ways that Americans across the nineteenth century understood the perversions tyranny introduced into both their polity and society. While some informed their thinking with reference to classical texts, which comprehensively consider tyranny's dangers, most drew on a more contemporary source—Napoleon Bonaparte, the century's most famous man and its most notorious tyrant. Because Napoleon defined tyranny around the nineteenth-century Atlantic world—its features and emergence, its relationship to democratic institutions, its effects on persons and peoples—he provides a way for nineteenth-century Americans to explore the parameters of tyranny and their complicity in its cruelties. Napoleon helps us see the decidedly plural forms of tyranny in the US, bringing their fictions into focus. At the same time, however, there are distinctly American modes of tyranny. From the tyrannical style of the American imagination to the usurping potential of American individualism, Elizabeth Duquette shows that tyranny is as American as democracy.

Novel Bondage unravels the interconnections between marriage, slavery, and freedom through renewed readings of canonical nineteenth-century novels and short stories by black and white authors. Situating close readings of fiction alongside archival material concerning the actual marriages of authors such as Lydia Maria Child, Harriet Beecher Stowe, William Wells Brown, and Frank J. Webb, Chakkalakal examines how these early novels established literary conventions for describing the domestic lives of American slaves in describing their aspirations for personal and civic freedom. Exploring this theme in post-Civil War works by Frances E.W. Harper and Charles Chesnutt, she further reveals how the slave-marriage plot served as a fictional model for reforming marriage laws. Chakkalakal invites readers to rethink the "marital work" of nineteenth-century fiction and the historical role it played in shaping our understanding of the literary and political meaning of marriage, then and now.

Poetry occupied a complex position in the social life of nineteenth-century America. While some readers found in poems a resource for aesthetic pleasure and the enjoyment of linguistic complexity, many others turned to poems for spiritual and psychic wellbeing, adapted popular musical settings of poems to spread scandal and satire, or used poems as a medium for asserting personal and family memories as well as local and national affiliations. Poetry was not only read but memorized and quoted, rewritten and parodied, collected, anthologized, edited, and exchanged. Michael C. Cohen here explores the multiplicity of imaginative relationships forged between poems and those who made use of them from the post-Revolutionary era to the turn of the twentieth century. Organized along a careful genealogy of ballads in the Atlantic world, The Social Lives of Poems in Nineteenth-Century America demonstrates how the circulation of texts in songs, broadsides, letters, and newsprint as well as in books, anthologies, and critical essays enabled poetry to perform its many different tasks. Considering the media and modes of reading through which people encountered and made sense of poems, Cohen traces the lines of critical interpretations and tracks the emergence and disappearance of poetic genres in American literary culture. Examining well-known works by John Greenleaf Whittier and Walt Whitman as well as popular ballads, minstrel songs, and spirituals, Cohen shows how discourses on poetry served as sites for debates over history, literary culture, citizenship, and racial identity.