My New Book!

My New Book!
My New Book!

Tuesday, July 4, 2017

July 4, 2017: Representing the Revolution: The Adams Letters



[For this year’s July 4th series, I’ll be AmericanStudying cultural representations of the Revolution and its era. Leading up to a special post on Hamilton!]
On the myths, and the realities, revealed about the Revolution and its leaders in the Adams letters.
Writing to his wife Abigail on July 3rd, 1776 (she was back at home in Braintree managing the family farm and raising their children), the day after the Continental Congress had drafted the Declaration of Independence, John Adams argued that “the Second Day of July 1776, will be the most memorable Epoch, in the History of America. I am apt to believe that it will be celebrated, by succeeding Generations, as the great anniversary Festival. It ought to be commemorated, as the Day of Deliverance by solemn Acts of Devotion to God Almighty. It ought to be solemnized with Pomp and Parade, with Shews, Games, Sports, Guns, Bells, Bonfires and Illuminations from one End of this Continent to the other from this Time forward forever more.”
On one level, the letter reveals just how much myth-making is inherent in any national celebration—we celebrate independence on July 4th because the Declaration was signed, dated, and sent out to the American public for the first time on that day; but Adams’ emphasis makes clear that the date was and is an arbitrary one, and of course that Revolutionary acts, like all historical moments, develop over time. On another level, however, Adams’ letter reveals quite impressively how aware the Congress was of the significance of what was happening: not only in his quite thorough prediction of the celebrations that would come to commemorate the event; but also in his recognition of all that would follow the Declaration. “You will think me transported with Enthusiasm but I am not,” he wrote. “I am well aware of the Toil and Blood and Treasure, that it will cost Us to maintain this Declaration, and support and defend these States. Yet through all the Gloom I can see the Rays of ravishing Light and Glory. I can see that the End is more than worth all the Means.”
Reading the Adams’ correspondence offers even more Revolutionary realities than those. For one thing, it deeply humanizes the second President (and by extension all the framers); I defy anyone to read John’s heartfelt July 20th, 1776 letter of concern for both his ailing family and his own separation from them and not feel differently about the man and moment. For another, the letters provide a visceral and compelling argument for the Revolutionary era’s hugely impressive community of American women—Abigail was not as publicly minded as peers such as Judith Sargent Murray and Annis Boudinot Stockton, but she makes a thoroughly convincing case for what Murray called the equality of the sexes: in her overt arguments for such equality, but just as much in her intelligence, her eloquence, and her strength in supporting both the family and its business and her husband and the nation’s. Many of my posts in this space have sought to complicate our idealizing national myths, but the Adams letters remind us that some of our realities have been just as ideal.
Next Revolutionary representation tomorrow,
Ben
PS. What do you think? Other Revolutionary representations you’d highlight?

Monday, July 3, 2017

July 3, 2017: Representing the Revolution: The Patriot



[For this year’s July 4th series, I’ll be AmericanStudying cultural representations of the Revolution and its era. Leading up to a special post on Hamilton!]
On the monstrous issue at the heart of a Revolutionary blockbuster.
There are lots of reasons why this AmericanStudier should be a big fan of Roland Emmerich’s historical blockbuster film The Patriot (2000; serious spoilers in that hyperlinked video). It features a protagonist who seems to be at least loosely based on one of my childhood favorite American historical figures: Frances Marion, the Swamp Fox on the Revolution. It includes multiple, compelling scenes set in the South Carolina State Legislature (seriously). And it’s a got a heaping helping of Chris Cooper, which is more than just about any other summer blockbuster outside of the unquestionably great The Bourne Identity. What’s not to like?
The very, very very, unlikeable villain, that’s what. As embodied by Jason Isaacs, The Patriot’s villainous British colonel is a thoroughgoing monster, the kind of man who will shoot a young child just for the heck of it, with a smile on his face. There are of course generic reasons for this choice—the film is what we might call a historical revenge saga, one inspired quite directly by Mel Gibson’s previous Braveheart as well as similar films like Gladiator; those films featured equally monstrous villains played by Patrick McGoohan and Joaquin Phoenix (respectively), characters designed in each case to insure that audiences would root for nothing more than to see the protagonist achieve his vengeful goal. Maybe if I were a British or Roman historian, those villains would bother me more than they do—but as an AmericanStudier, it’s Isaac’s over-the-top bad guy in The Patriot who really gripes my cookies.
The problem isn’t just that making Isaacs such a monster reduces the film’s narrative of the American Revolution to a story of primal revenge (although that sure doesn’t work on any historical level, unless you want to argue that everybody really took that Crispus Attucks thing personally). Nor is it just that it makes the British look really bad, although they had some justifiable issues with that effect of the film. To my mind, the biggest problem with The Patriot’s monstrous villain is that he makes the film’s Revolutionary protagonist into an equally one-dimensional saint, turning our hugely complex, politically and socially layered originating moment into a simplistic saga of good vs. evil. I’m sure there were monstrous men in the British army, and in the Continental one as well—war tends to bring out such types. But they didn’t define the Revolution’s causes or stories; and so whatever its charms, this Revolutionary representation gets a failing grade in history.
Next Revolutionary representation tomorrow,
Ben
PS. What do you think? Other Revolutionary representations you’d highlight?

Saturday, July 1, 2017

July 1-2, 2017: June 2017 Recap



[A Recap of the month that was in AmericanStudying.]
June 5: The Pulitzers at 100: The Good Earth: A centennial series starts with the limits of an influential novel, and one way to move past them.
June 6: The Pulitzers at 100: All the King’s Men: The series continues with two of the things that make one of our most underrated novels so great.
June 7: The Pulitzers at 100: Angle of Repose: Two literary contexts for Wallace Stegner’s masterpiece, as the series rolls on.
June 8: The Pulitzers at 100: The Color Purple: What the film adaptation of Alice Walker’s novel didn’t include, and why it’s still a worthy complement to the book.
June 9: The Pulitzers at 100: Vietnamese American Stories: How last year’s winner complements but also complicates a prior winner.
June 10-11: The Pulitzers at 100: The Underground Railroad: The series concludes with anachronisms, genre blurring, and the most recent Pulitzer winner.
June 12: American Beaches: Revere Beach: A summer series begins with three stages in the history of an exemplary American beach.
June 13: American Beaches: The Inkwell: The series continues with three layers to one of our most historic beaches.
June 14: American Beaches: Gidget and the Beach Boys: 1960s pop culture images of the beach and what to make of them, as the series rolls on.
June 15: American Beaches: On the Beach: The intense and tragic film that couldn’t compete with historic fears.
June 16: American Beaches: Baywatch: The series concludes with why those beach bodies are also a body of evidence.
June 17-18: American Beaches: Jamie Hirami’s Guest Post on Venice Beach: A talented young AmericanStudier on one of our most unique and telling beaches.
June 19: Mysterious Beach Reads: Ross MacDonald: My annual Beach Reads series kicks off with the series sure to send summer chills down your spine.
June 20: Mysterious Beach Reads: Tony Hillerman: The series continues with the books that capture the mysteries and allure of the Southwest.
June 21: Mysterious Beach Reads: Jonathan Lethem and Tim O’Brien: Two ground-breaking novels that explore the mysteries of memory, as the series rolls on.
June 22: Mysterious Beach Reads: Attica Locke: The wonderful first two novels by a new favorite American author.
June 23: Mysterious Beach Reads: Tana French: The series concludes with two ways to AmericanStudy the talented Irish novelist.
June 24-25: Crowd-sourced Beach Reads: One of my favorite crowd-sourced posts of the year didn’t disappoint—add your nominations in comments!
June 26: The US and World War I: Entering the War: A WW1 centennial series starts with two reasons why US troops entered the war in 1917.
June 27: The US and World War I: The American Expeditionary Forces (AEF): The series continues with three contexts for the US soldiers who fought in the Great War.
June 28: The US and World War I: African American Soldiers: Two opposing yet connected ways to remember a community of veterans, as the series rolls on.
June 29: The US and World War I: Representing the War: Lessons from two compelling cultural representations of the war.
June 30: The US and World War I: The Palmer Raids: The series concludes with the governmental overreach that extended the worst of the war into its aftermath.
Next series starts Monday,
Ben
PS. Topics you’d like to see covered in this space? Guest Posts you’d like to contribute? Lemme know!