Post Updated: I inadvertently left off the final two paragraphs of this post when I put it up on the blog. My apologies to both Andrew and our readers. They’ve been added back as of 3:30 pm EST, 15 Feb 2014. — Ben Alpers
[Editor's Note: What follows is the first in a six-week series of guest blogs from Andrew Seal. Andrew is a Ph.D. candidate in American Studies at Yale University. He is currently writing his dissertation, tentatively titled "Exporting the Common Man: Midwestern Intellectuals and U.S. Power, 1910-1960," which critically examines the emergence and decline of an ideal of American character and civilization parallel to the American Century but derived from the Midwestern middle class. Hailing from Indiana, schooled in the East, and now living in Utah, he is on his way to a regional bingo. He hopes to use his posts to confront both texts that have inspired him and sources that have perplexed him in pursuing his studies and research. I'm delighted to have him blogging for us! -- Ben Alpers]
When L. D. recently wrote about the strange condition of Mary McCarthy in intellectual history—L. D. argued that McCarthy is present but under-utilized in histories of the New York intellectuals—it intersected with some difficulties I, too, have been encountering in both the archive and the historiographical record. For I, too, have often—but not always—found myself on cold trails when trying to connect the women in my dissertation to the larger themes I find in the monographs I admire and the conversations, debates, and narratives they represent. Like McCarthy, they are there, but not there, not obscured, but hidden in plain sight.
When novelists and biographers depict the conjoining of women to grand literary or intellectual narratives, they often do so as an unveiling. In A. S. Byatt’s novel Possession, the crucial evidence that links the major poet Randolph Henry Ash and the relatively minor poet Christabel LaMotte is a letter that has been concealed in Ash’s papers, undetected by the scholarship of generations. A great deal of the novel’s plot proceeds through the figures and facts of letters concealed and revealed, secrets exposed and unearthed, but one way to read this archival drama is as the full canonization of the female poet by virtue of her connection to the male. By this link, she is shuffled into the mainstream of a Great Tradition and out of the marginalized countercurrents of feminist and queer scholarship. Continue reading