By Coleman Hutchison
Apples and Ashes is equipped through style, with every one bankruptcy utilizing a unmarried textual content or a small set of texts to limn a broader point of accomplice literary tradition. Hutchison discusses an understudied and numerous archive of literary texts together with the literary feedback of Edgar Allan Poe; southern responses to Uncle Tom’s Cabin; the novels of Augusta Jane Evans; accomplice renowned poetry; the de facto accomplice nationwide anthem, “Dixie”; and several other postwar southern memoirs. as well as emphasizing the centrality of slavery to the accomplice literary mind's eye, the e-book additionally considers a sequence of novel issues: the reprinting of ecu novels within the accomplice South, together with Charles Dickens’s Great Expectations and Victor Hugo’s Les Misérables; accomplice propaganda in Europe; and postwar accomplice emigration to Latin America.
In discussing literary feedback, fiction, poetry, well known track, and memoir, Apples and Ashes reminds us of accomplice literature’s once-great expectancies. ahead of their defeat and abjection—before apples grew to become to ashes of their mouths—many Confederates notion they have been within the means of making a country and a countrywide literature that may endure.
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Extra resources for Apples and Ashes: Literature, Nationalism, and the Confederate States of America
With the metaphor in place, the editorial moves quickly to its arts of persuasion. The emergence of a dour diction (“mortifying,” “repulsed,” “coldness,” “neglect”) and direct address (“Virginia public”) immediately heighten the emotional stakes of the essay. Tellingly, by his third sentence, Heath has set the South in full—if friendly—competition with the North. This is, at bottom, a literary arms race. ” (1–2). To Heath’s mind, Virginia’s robust agricultural economy makes it particularly well situated to produce a literary periodical.
Heath will not concede the North’s moral superiority. Indeed, in one of the editorial’s many rhetorical questions, Heath asks, “We are not willing to borrow our political,—religious, or even our agricultural notions from the other side of Mason and Dixon’s line,” and so why be willing to do so with literary notions (2)? ” (2). This was a pressing question for both southern and American literary nationalists during this period, yet Heath does not tarry with it. At stake for Heath (who was in 1834 a Virginia state auditor) is a simple logic of quasi-economic exchange: “To this there is an obvious answer.
Heath takes for granted that by 1834 there was an identiﬁable “literary spirit” at work in the North, no small claim in this period of “controversy” over a national literature. Furthermore, he suggests that because that spirit was engendered by domestic periodicals, it can be understood as a product of a nascent cultural independence from England and its literary metropoles. The rhetoric of national differentiation that Heath draws on here would have been familiar to contemporary readers both North and South.