By E. Burleigh
Throughout the prism of intimacy, Burleigh sheds gentle on eighteenth and early-nineteenth-century American texts. This insightful research indicates how the trope of the kinfolk recurred to provide contradictory photographs - either in detail common and frighteningly alienating - in which americans replied to upheavals of their cultural panorama.
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Additional resources for Intimacy and Family in Early American Writing
Sample text
The privacy of “craggy Rocks” and “dread Mines” is not in itself enough to forestall the growth of Oldfashion’s daughter’s public development. Gossip has already done its work. 34 Intimacy and Family in Early American Writing What the Female Spectator aims to accomplish, then, is a repositioning of the social function of gossip, as applicable to public morality, within a more rigid sphere of privacy. We see in this letter the beginnings of a movement toward more firmly entrenched notions of public and private, localized in spaces rather than in movement and discourse.
Fr a nk l in’s S c andal izing L adi es There is scarce any one Thing so generally spoke against, and at the same time so universally practis’d, as Censure or Backbiting. All Divines have condemned it, all Religions have forbid it, all Writers of Morality have endeavor’d to discountenance it, and all Men hate it at all Times, except only when they have Occasion to make use of it. For my part, having frankly declar’d it as my Opinion, that the general Condemnation it meets with, proceeds only from a Consciousness in most People that they have highly incurr’d and deserv’d it, I shall in a very fearless impudent Manner take upon me to oppose the universal Vogue of Mankind in all Ages, and say as much in Behalf and Vindication of this decry’d Virtue, as the usual Vacancy in your Paper will admit.
30 What this observing persona proposes, however, seems nothing less than to act as a gatherer of gossip. Mr. Spectator may never open his lips anywhere but in his club, but in this club he tells what he has “over-hear[d]” from “every Table,” and in the paper, he produces in print precisely the spoken words he refuses to utter. If Mr. Spectator’s urbanity is premised in part upon his refusal to engage in actual discussion, undercutting that refusal by printing what he hears produces a relationship between authorial persona and reader that is structured like gossip and produces a similar momentary intimacy.
