Poor Eliza -- Pax Americana : the case of Show boat -- National brands, national body : Imitation of life -- Uncle Sam needs a wife : citizenship and denegation -- Remembering love, forgetting everything else : Now, voyager -- "It's not the tragedies that kill us, it's the messes" : femininity, formalism, and Dorothy Parker -- The compulsion to repeat femininity : Landscape for a good woman and The life and loves of a she-devil.

This is a paper about trauma and ineloquence, violence and banality, and the utopian conventions of self‐expression in liberal mass society: the U.S. is the scene of the case. The essay pursues relations among the post‐traumatic reparative contexts of the law, religion, therapy and popular culture, all under the sign of autobiography. These domains articulate generic conventions of self‐expressivity with the formalism of self‐reflective liberal personhood. They link norms of expressive denegation to genres that conventionalize, and make false equivalents among, (...) diverse traumatic consequences. When scenes of post‐traumatic ineloquence morph into modes of transformative‐style rhetoric, does the eloquent form distract from, become a mask for, or intensify the unreachable or inarticulable thought that wants to change the norms of negation? A short history of the soundtrack as a site that marks the centrality of ineloquence to traumatic expression condenses the paradox of the moment, where a post‐traumatic desire to become undefensive meets up with pop banality and therapeutic cliche. (shrink)

The Color Purple problematizes tradition-bound origin myths and political discourse in the hope of creating and addressing an Afro-American nation constituted by a rich, complex, and ambiguous culture. But rather than using patriarchal language and logics of power to describe the emergence of a postpatriarchal Afro-American national consciousness, Celie’s narrative radically resituates the subject’s national identity within a mode of aesthetic, not political, representation. These discursive modes are not “naturally” separate, but The Color Purple deliberately fashions such a separation in (...) its attempt to represent a national culture that operates according to “womanist” values rather than patriarchal forms.5 While political language is laden with the historical values and associations of patriarchal power, aesthetic discourse here carries with it a utopian force that comes to be associated with the spirit of everyday life relations among women. 5. Walker, In Search of Our Mothers’ Gardens , p. xi. “Womanist” is a neologism of Walker’s invention. Much more than an idiosyncratic translation of “feminist” into a black/third-world female tradition, the term describes the “woman” in a range of personal and social identities: “Usually referring to outrageous, audacious, courageous or willful behavior. Wanting to know more and in greater depth than is considered ‘good’ for one…. Also: A woman who loves other women, sexually and/or nonsexually…. Sometimes loves individual men, sexually and/or nonsexually…. Traditionally universalist, as in … ‘the colored race is just like a flower garden, with every color flower represented.’ ” In calling the new nationalist epistemology imaged and advocated in The Color Purple an “aesthetic/symbolic” logic, I mean to honor the careful historical and categorical distinctions that operate in the novel and in Walker’s critical work around it. Central to her practice is a delegitimation of traditionally patriarchal-racist political practices, institutions, and language. Lauren Berlant is assistant professor of English at the University of Chicago. She is currently working on Nathaniel Hawthorne’s readings of the cultural/sexual politics of national identity. (shrink)