The Anarchy of Empire in the Making of U.S. Culture (Convergences) [Hardcover]

Amy Kaplan (Author)

Book Description

Series: Convergences | Publication Date: February 17, 2003

The United States has always imagined that its identity as a nation is insulated from violent interventions abroad, as if a line between domestic and foreign affairs could be neatly drawn. Yet this book argues that such a distinction, so obviously impracticable in our own global era, has been illusory at least since the war with Mexico in the mid-nineteenth century and the later wars against Spain, Cuba, and the Philippines. In this book, Amy Kaplan shows how U.S. imperialism--from "Manifest Destiny" to the "American Century"--has profoundly shaped key elements of American culture at home, and how the struggle for power over foreign peoples and places has disrupted the quest for domestic order.

The neatly ordered kitchen in Catherine Beecher's household manual may seem remote from the battlefields of Mexico in 1846, just as Mark Twain's Mississippi may seem distant from Honolulu in 1866, or W. E. B. Du Bois's reports of the East St. Louis Race Riot from the colonization of Africa in 1917. But, as this book reveals, such apparently disparate locations are cast into jarring proximity by imperial expansion. In literature, journalism, film, political speeches, and legal documents, Kaplan traces the undeniable connections between American efforts to quell anarchy abroad and the eruption of such anarchy at the heart of the empire.

Editorial Reviews

Review

In six carefully crafted case studies--ranging from American notions of Manifest Destiny in the 1840s through Mark Twain's international travels to late-19th-century popular romances like Charles Major's "When Knighthood Was in Flower" and Mark Johnson's "To Have and To Hold"; journalistic accounts of the Spanish-American War; and a concluding account of Du Bois's incisive remapping of the imperial world in his 1920 book "Darkwater"--Kaplan travels freely over a wide swath of American cultural history. Along the way she casts a theoretically sophisticated eye on disparate texts--some familiar to American readers, many not...The result is a challenging, provocative work that makes a persuasive case for the inextricable--and complicated--connections between American notions of national identity and US foreign policy. (James A. Miller Boston Globe )

[Kaplan] has a big important idea: the outside world mattered intensely and intimately to Americans from the nineteenth century onward. Through writings such as Harriet Beecher Stowe's writing for housewives, Mark Twain's dispatches fm Hawaii, and W. E. B. Du Bois's fiction, Kaplan traces how America's foreign relations shaped popular consciousness at a time when conventional wisdom has Americans slumbering in isolation and ignorance of the wider world. Kaplan is rightly fascinated with the contradictory impulses in American culture: we want the whole world to be like us, but being different and unique is part of who we are. We cannot have it both ways, but we endlessly try, and Kaplan provides real insight into the ways this conflicted agenda continues to shape American identity. (Walter Russell Mead Foreign Affairs )

Through insightful readings of texts from film to fiction, travelogue to memoir, Kaplan writes empire into the cultural history of the U.S., and America into the transnational history of empire. With a keen eye for contradiction, Kaplan shows how the endeavour to maintain boundaries--between U.S. and world, domestic and foreign--works constantly against its own undoing. (Susan Carruthers Times Higher Education Supplement )

Review

Kaplan does a beautiful job of reintegrating the "domestic" with the "foreign" in American history, and of demonstrating the persistent, ubiquitous imperialist logic which has informed, inflected, or sometimes fully shaped "domestic" social relations, cultural productions, and utterances of all sorts. In moving from Beecher to Twain to Theodore Roosevelt to Griffith to Du Bois, Kaplan not only offers up original and provocative readings of some very familiar texts (across a number of genres), but she highlights an important thread which runs through the entire period from Manifest Destiny to the WWI years. Texts like Huckleberry Finn and Citizen Kane will never look quite the same. (Matthew Frye Jacobson, Professor of American Studies at Yale Univeristy 20030202)

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Product Details

• Hardcover: 272 pages
• Publisher: Harvard University Press (February 17, 2003)
• Language: English
• ISBN-10: 0674009134
• ISBN-13: 978-0674009134
• Product Dimensions: 9.5 x 6.6 x 0.9 inches
• Shipping Weight: 1.2 pounds
• Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #701,644 in Books (See Top 100 in Books)

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53 of 55 people found the following review helpful:

4.0 out of 5 stars Installing the Circuits of Empire, May 3, 2003

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Panopticonman "panopticonman" (Brooklyn, NY USA) - See all my reviews
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This review is from: The Anarchy of Empire in the Making of U.S. Culture (Convergences) (Hardcover)

In THE ANARCHY OF EMPIRE IN THE MAKING OF US CULTURE Ms. Kaplan has put together a number of illuminating readings of selected American texts as a way to explore the beginnings of empire, its expression in the U.S. in the mid to late 19th century. Her sources range from women's magazine's such as Harper's, works by Twain and W.E.B. du Bois, through "Birth of a Nation" to Welle's "Citizen Kane." She shows how the boundaries of empire were drawn, and how no one was were untouched by its discourse whether they recognized its contours or not.

She begins with a discussion of Mark Twain's first real assignment as a newspaperman: writing "letters" from Hawaii that were published in a San Francisco newspaper intended to promote the island to mainland businessmen and settlers. These letters and his observations later formed the basis of his first lectures and thus served as the springboard to his later career as a novelist. Twain, she notes, in his personal letters to friends and family is drawn to and repelled by the exotic, anxious to witness the rites of the dying Hawaiian people before they pass from history, and at the same time scandalized by their cultural practices, such as their lascivious dancing. Known generally now as an anti-colonialist because of an article he wrote during the Spanish American War(s), she demonstrates how he, knowingly, and with no little anxiety, early on recognized he was implicated in the colonial project. On the sea voyage to Hawaii, for instance, he comes down with a bad cold, and mordantly writes to a friend that the illness he bears may kill off a few more thousand more Hawaiians. Kaplan maintains that Twain's exposure to empire in the color line in Hawaii and the exploitation of that people, (a quite different experience from how he experienced the color line in Missouri), laid the foundation for his later perspective and production of "Huckleberry Finn" some twenty years later.

Other key readings include the first full-length films produced during the "Spanish-American War Mania" when documentary footage of U.S. soldiers was mixed with some staged battles and scripted domestic scenes drew huge audiences to the movies. She suggests that the public happily participated in the jingoistic pursuit of empire through these films, and that these productions laid the groundwork for not just the war movie genre, but the full-length film. Prior to these movies, shorts were the order of the day. She notes these films influenced the structure and visual imagery of "The Birth of a Nation" in 1915, which, if you haven't seen it recently, presents African Americans as the lords of misrule in the American South. Encapsulated in all these cultural productions are the portrayals of non-white men as stupid, power-crazed savages who in their grab at power, attempt to deflower the flower of the white womanhood, while non-white women are seen as exotic and erotically destabilizing. The Birth of a Nation casts the Klan as heroic figures who must preserve civilization through lynching, terror and mayhem. The Rough Riders were seen as masculine white heroes who swept away the decadent vestiges of a cruel empire, freeing Filipinos and Cubans who as non-whites and subjugated peoples could not understand or appreciate the boon of freedom that had been conferred upon them.

Orson Welle's "Citizen Kane," the fictionalized life of Henry Luce, is also examined as critique of the circuits of imperial power. She notes that it is one of the few films that even touches on the Spanish American War as a subject, but that this war was central to Luce's creation of his own media empire. Making the point that the yellow press grew to prominence during this era, repeating the story that Hearst started the war in Cuba to sell newspapers, she shows how the media supported the drive toward empire, and in their cultural productions assigned roles to citizens.

Her larger point is that empire is not a one way street, but rather is complex circuit through which the dreams of the imperial power are modified and altered through contact with the Other. Through her examination of W.E. DuBois, she summarizes his view that WWI was not centered in a dispute between European powers but that it grew out of Africa. By decentering the standard narrative, he rewrites the conflict as the history as growing out of the contact of Europe with Africa. This chapter nicely resonates with her introduction She relates through a Supreme Court decision how Puerto Rico was both a possession, and not a possession, holding it through law at arm's length -- a place in which it still resides, in a limbo as both dependent and quasi-independent. A similar judgment was made during the 1830s by the Supreme Court when they ruled that the Cherokee was not a nation in the strict sense, but a dependent population so that they could be uprooted and sent forth on the Trail of Tears. (See the book "1831" Year of Eclipse" by Louis Masur for the history behind that similarly ambiguous decision.

This is a thoughtful book to which full justice cannot be given in a short review. Her location of the Spanish American War as a key node in America's consolidation of its colonial aspirations is important and convincingly done. As a chapter in history, the Spanish American War(s) has always been dismissed as a minor episode, portrayed as the U.S. trying on the role of the colonizer during the colonial era's last gasp, an activity for which as a democracy it was ill suited. What Kaplan shows is that it was a rehearsal for a different kind of imperialism, the stimulation of the American middle-class through narratives of power as presented through the media, and the later colonization of the world through the globalization construct put forth under the rubric of democracy and free trade.