Index
Index Page numbers in italics indicate illustrations. abolitionist literary culture, 21, 101–32; anticipating black duplicity, 106–8; and authenticity/fraudulence of slave narratives , 101–2, 105–6, 113–23, 125–26, 131–32; containing threat of self-authorizing former slaves, 130–32; definition of knowledge, 113; misrecognition of slaves as texts, 127–32; and non-autobiographical writing by former slaves, 201–2n91; reading strategies, 125–30, 131–32, 201n82; refusal to attribute creative capacities to African American writers, 131–32; and white authors of pseudo-slave narratives, 109; and Williams’s Narrative, 21, 101–2, 112–32. See also slave narratives and abolitionist literary culture An Account of Col. Crockett’s Tour to the North and Down East, 79, 89, 189n9 Ainsworth, William Harrison, 57–58 Alabama Beacon, 115–17, 202n94 Althusser, Louis, 18 American Antiquarian Society, 82, 193n51 American Anti-Slavery Society: and crisis over authenticity of Williams’s narrative, 115–17, 118, 131–32, 202n94; and pseudoslave narratives, 109–11; publication of Narrative of James Williams, 21, 112–13, 115, 117, 126, 199n63 ‘‘American Criticism on American Literature ’’ (Gould), 34 Americanisms, Bartlett’s dictionary of, 78–79, 195n80 ‘‘American Literature: Its Position in the Present Times, and Prospects for the Future’’ (Fuller), 29–30 American Museum (magazine), 44 American Museum, Barnum’s 46 American Phrenological Journal, 53 American Quarterly Review, 54 American Review, 30–31, 85 ‘‘The American Scholar’’ (Emerson), 37 Anderson, Benedict: ‘‘imagined communities ,’’ 26, 27, 181n7; ‘‘print-capitalism,’’ 26, 180n27 Andrews, William: and Jacobs’s Incidents in the Life of a Slave Girl, 104; and Williams’s Narrative, 118, 125, 126, 129 ‘‘The Angel of the Odd’’ (Poe), 56, 58 anti-slavery cause. See abolitionist literary culture; slave narratives and abolitionist literary culture Anti-Slavery Examiner, 115 The Archive and the Repertoire (Taylor), 68 Archives of American Time: Literature and Modernity in the Nineteenth Century (Pratt), 26–27 Augusta States Rights Sentinel, 74 authorship: authorial disappearance of women writers, 139–45, 155–61; Foucault on, 127; and Gallagher’s ‘‘vanishing acts,’’ 204n20; and the national literary market, 10–11, 180n27; and poststructuralism, 144–45; privacy/publicity and women writers, 135–36, 139, 152–53; pseudonyms of women writers, 134, 145, 150–53, 205n35; slave narratives and textual absence, 123–31. See also pseudo-slave narratives; slave narratives and abolitionist literary culture; women writers, mid-ninetenthcentury Autobiography of a Female Slave [Mattie Griffith], 102, 108–12, 117, 195n2, 197n32; 232 Index Autobiography of a Female Slave (continued) Griffith’s commitment to anti-slavery cause, 109; public response to revelation of authorship, 110–12; publishing history, 108 The Awful Disclosures of Maria Monk, 117 ‘‘The Balloon-Hoax’’ (Poe), 56–58 balloons, Poe’s, 56–64; ‘‘The Angel of the Odd,’’ 56, 58; and antebellum print public sphere, 20, 57, 64; ‘‘The Balloon-Hoax,’’ 56–58; ‘‘fool’s cap’’ shapes, 60, 62; ‘‘Mellonta Tauta,’’ 56, 57; as phenomena of democratic discourse, 61; and print culture, 57, 60–64; and puffery, 56–64; ‘‘The Unparalleled Adventure of One Hans Pfaall,’’ 56–63, 188n99 Baltimore Monument, 33 banks and currency crises, 35–43 Barlow, Joel, 58 Barnum, P. T., 2, 15, 46, 48, 49, 180n34 Barthes, Roland, 144 Bartlett, John Russell, 78–79, 195n80 Baym, Nina, 46, 137 Benjamin, Walter, 16 Bentley, Richard, 57–58 Berlant, Lauren: on female self-identity and ‘‘frustration of being generic,’’ 155; on subaltern pilgrimages to Washington, 94–96 ‘‘Betty Martin’’ (song), 59 Beulah (Wilson), 146 Birney, James, 116–17, 122–23, 126–27, 199n65 blackface minstrelsy, 65–69, 80–100; and the ‘‘American Shakespeare,’’ 80, 82; antebellum bourgeoisie’s attraction to, 83–86, 193n51; belief that African Americans possessed talent for mimicry, 96–97, 106–7, 131, 164; and Black Guinea character in Melville’s Confidence-Man, 164; and Davy Crockett/backwoods culture industry, 66–68, 86–100, 193nn57–58; double casting of African Americans as both artless and artful, 106–7; fantasies of subaltern pilgrimage to Washington (Zip Coon/Davy Crockett presidential ticket), 93–95, 194n71; Jim Crow and Davy Crockett’s intertwined genealogies, 90–93; Jim Crow character, 66–68, 82–83, 86–93, 95–96, 100, 192n42; and literary nationalism , 80–86, 97–98, 100; ‘‘minstrelsy’’ and Anglo-Celtic folk poetry tradition, 80; and monstrous figures for literary nationalism, 85–86; nationalization and marginalization , 66–68, 93–100; the play ‘‘Virginia Mummy,’’ 85–86; and production of authenticity, 96–97, 100; publicity strategies and fakery, 81; and puffery, 90; and racialization of fraudulence, 66–68, 80–82...
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