When sound is translated into a blow on the nape of the neck, and light into a flash so bright that it actually scorches the skin, when feeling is lost in one disintegrating jar of every nerve and fibre […] the mind, at such moments, is like a compass when the needle has been jolted from its pivot.
A World War I stretcher-bearer wrote this. It is as though Vallejo had read it. Derek Gregory’s discussion of Corpographies is truly worth studying.
I need this book and they have it at LSU.
Here it is.
Obviously, I must find out whether any of these people have found any actual plaçage contracts. And be re-familiarize myself with their discussions now that I have been convinced that the practice is a myth.
Also, there is a 2011 book, Southscapes, that takes plaçage as real and cites references to it in Creole, not just Anglo-American literature. We have it in our library and I must read its footnotes.
It really was. And I have just ordered Black Cosmopolitanism: Racial Consciousness and Transnational Identity in the Nineteenth-Century Americas and it discusses the Americas — both of them — and Haiti; Frederick Douglass apparently said he was more Haitian than North American, and Afro-Latin Americans were dis-identifying from Blackness so as to join the nation — or not.
The vanguardias came out of this; their writers grew up in this, and Europe was more secondary than we have been taught so far.
In class, we said Villaverde was trying to teach his readers how to read or interpret the character, Cecilia. The characters in the novel cannot discern her race unless they have historical and geneaological information about her, but the narrator is very much invested in the possibility of our discerning it visually, and continuing to discern it.
This is someone I should study. I must examine his categorical rejection of “imitation,” particularly of European models — an articulation of 1840s US literary nationalism. His program for self-reliance is apparently obedience to higher law.
“Plinlimmon’s snake oil,” someone said in reference to Emerson. Tell me about that. Plinlimmon is a character in Melville’s Pierre, and he is a faux writer. What his attitudes toward nationality are, we shall find out.
I just bought two books I should not have, but I really want this as well.
(My kingdom for a library — or for a university press bookstore one could stand and read in for hours.)
I would like this book and I think I should get hold of it. (I wish we had books in our own library.) But it would be very amusing to read.