Unhistorical Fictions: Sedgwick and Neal
Chapter 2 attends two early works that, I argue, resist rather than participate in the formation of the historical romance tradition in antebellum U.S. literature and, in doing so, offer an implied critique of historicist assumptions and procedures. John Neal’s Seventy-Six (1823) and Catharine Maria Sedgwick’s Hope Leslie (1827) each experiments with writing (and experiencing) history through the present tense. Deploying anachronism as both narrative method and trope, Hope Leslie’s narrative of colonial New England disrupts the unidirectional course of time, challenging fundamental conceptions of the form and shape of history that are as prevalent today as in Sedgwick’s time. In Seventy-Six, Neal strives to render an account of history that neither refers nor means, but that simply is. Impossibly, Neal seeks to evacuate the narrative of temporality, to circumvent the inherent tendency of narrative to shape and bestow coherence upon experience—a coherence that inevitably distorts the particular tang of now.