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Additional info for The Voice in the Margin: Native American Literature and the Canon

Example text

In England—I offer a very broad generalization here—Romantic and Victorian writers, male and female, were thoroughly committed to the values of presence, immediacy, and full communicative intentionality—parole pleine — associated with oral forms, as was Whitman in America (but certainly ― 46 ― not Thoreau, Hawthorne, and the other "major" eastern WASPS). The sexist part of the modernist shift has to do with the fact that in leaving these values to women, and to men who write like women (curiously, D.

They were thus opposing —as late as the 1920s and 1930s—the west-oriented "frontier" thesis of Frederick Jackson Turner, the notion that American culture came out of the "forest," the catch-all term for the "wilderness" of noncivilization or savagism. ) An extreme reading of Turner would thus deny that eastern high culture was really American at all—Barry Goldwater was not innovating when he suggested some twenty-five years ago that New York be cut free of America and set adrift upon the ocean—and those who admired eastern high culture could disagree with Turner only in longing that one day it might indeed be American, once the west caught up, as it were, became "civilized" itself (westerners, thus, becoming the east's Indian "sav- ― 65 ― ages").

The idea was the notion of the savage and savagism: "the Symbol is the Indian; and the Images are those found in social, historical, and imaginative writing of the period" (1609–1851). Thus, as Pearce had announced at the beginning of his Foreword, Savages was "a book about a belief," but one that was also "planned according to [a] structure of thought and action " (my emphasis); and in a 1966 Postscript to the original Foreword he reaffirmed that "the book is a study of one of those unattractive 'isms' which taught our forebears how to make up their minds and also how to act " (1967, x; my emphasis).

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