The Sentimental Politics of Language: Ralph Waldo Emerson's and José María Sánchez's Texan Stories
In 1828, Mexican President Guadalupe Victoria assigned General Manuel de Mier y Terán to survey the Texan boundary between Mexico and the United States and to assess the situation of Anglo-American settlers in the territory. Traveling with Terán was Lieutenant José María Sánchez, whose diary of the expedition has long been recognized as an important source document for histories of the period and region. This article asserts the literary value of Sánchez’s diary for a hemispheric study of American Romanticism. In his description of landscape as spiritual experience and his emphasis on language as creative political force, Sánchez enacts the core tenets of an Emersonian Transcendental subject, an artistic sensibility at variance with the Byronic Romantic hero of Mexican and Latin American literature of the period. This article investigates the Mexican political tensions such a Romantic position evokes while exploring the inter-American potential of a hemispheric Romanticism.
West of Emerson: The Design of Manifest Destiny
List of Illustrations Acknowledgments Introduction 1. Natural Causes: The Journals of Lewis and Clark 2. Zebulon Pike, Federalist Gloom, and Western Lands 3. The Land without Qualities: Stephen Long and William Emory 4. Emerson's 1830s 5. Emerson's Nature: West of Ecstasy 6. Thoreau and the Design of Dissent Epilogue: The Case against the Hamptons Notes Bibliography Index
"The Plain Round Tale of Faithful Thady": Castle Rackrent as Slave Narrative
Critics of Maria Edgeworth’s Castle Rackrent tend to focus on textual elements—gender issues, the symbolism of the Big House, colonial hegemony— or contextual readings by placing Edgeworth in the Anglo-Irish history and tradition. While such criticism usually in some way examines the main theme of the text, the appropriation of power and authority, little of it accomplishes both the textual and contextual analysis that Castle Rackrent deserves. Exploring Thady’s “plain round tale” as a slave narrative in content and form sheds new light on the work both textually and contextually; in Thady Quirk, Edgeworth has created a typical slave narrator who recounts a history of oppression which is ultimately mediated by an outside editor. As John Cronin writes of Castle Rackrent, “What Maria Edgeworth has given us . . . is a magnificently realised slave, a terrifying vision of the results of colonial misrule. There must have been a moment of clearly deliberate artistic decision in which she realised that what needed to be said must be said through one of the submerged people.”1 The three main textual elements of the narrative indicate its likeness to typical slave narratives: its presentation of a conflicted slave narrator, its use of the framing device of the outside editor, and its narrative structure of episodic anecdotes that utilizes memory, description, and didacticism.