The passing of Charles Chesnutt: Mining the white tradition

The passing of Charles Chesnutt: Mining the white tradition

Wasafiri
Volume 13, Issue 27
pages 5-10
DOI 10.1080/02690059808589583

Sarah Meer, Lecturer of English
Univeristy of Cambridge

In May 1880, the young Charles Chesnutt confided to his diary his ambition to write a book. Its object would be ‘not so much the elevation of the colored people’—the concern of most late nineteenth century reformers, both white and black—‘as the elevation of the whites,’; for he considered it was ‘the unjust spirit of caste’, rather than the moral or economic or educational conditions of blacks which lay behind racial inequities in America. Chesnutt’s focus on white Americans as the problem would be accompanied by a particular methodology. He did not propose ‘a fierce indiscriminate onslaught; not an appeal to force, … (for) the subtle almost indefinable feeling of repulsion toward the negro, which is common to most Americans …, cannot be taken by assault’. Instead, ‘their [garrison) must be mined, and we will find ourselves in their midst before they think it’. This metaphor, of the secret operation which carries the writer silently into the enemy’s camp, is a peculiarly apt one for Chesnutt’s writing. His first book would not be published until 1899 but the two collections of stories which came out that year, The Conjure Woman and The Wife of His Youth, were both as subtle and as determined to make his point as the image suggests. In those books too, and in a subsequent novel, The Marrow of Tradition, Chesnutt would often appear to be taking his stand on enemy ground and revisiting fictions which were themselves part of the problem. Chesnutt not only took white authors as his models but seemed at times to seek out genres particularly associated with that ‘feeling of repulsion toward the negro’ which he believed so prevalent.

In a sense Chesnutt’s literary tactics reflected his own anomalous position in a society obsessive about racial boundaries. The son of free North Carolina blacks, Chesnutt was probably also the grandson, on both sides, of white men. His appearance was pale enough to ‘pass‘ for white, though it was an option he rejected. Physically ‘white’ to the eyes of the unacquainted, culturally ‘white’ in his education and tastes, Chesnutt was nonetheless black historically; in the place he inherited in America’s rigidly stratified society. Chesnutt’s writing addressed his country’s racial inequality and its slave-owning history but formally it continued to resemble the ‘white’ tradition of writing on the subject…

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