American Obscurantism argues for a salutary indirection in U.S. culture. From its earliest canonical literary works through films of the late twentieth and early twenty-first centuries, the most compelling manifestations of America’s troubled history have articulated this content through a unique formal and tonal obscurity. Envisioning the formidable darkness attending racial history at nearly every stage of the republic’s founding and ongoing development, writers such as William Faulkner and Hart Crane, and directors like the Coen brothers and Stanley Kubrick, present a powerful critique of American conquest, southern plantation culture, and western frontier ideology. American Obscurantism engages the basis of these explorations in Edgar Allan Poe and Herman Melville, each of whom present notable occlusions in their characters’ racial understanding, an obtuseness or naivety that is expressed by a corresponding formal opacity. Such oblique historicity as the book describes allows a method at odds with—and implicitly critical of—the historicizing trend that marked literary studies in the wake of the theoretical turn. The book thus restores an emphasis on aesthetic and medium-specific features to argue for a formalist historicity. Working through challenges to an implicitly white, bourgeois, heteronormative polity, American Obscurantism posits an insistent, vital racial otherness at the heart of American literature and cinema. It examines this pattern across a canon that shows more self-doubt than assuredness, arguing for the value of openness and questioning in place of epistemological or critical certainty.
Barry Lyndon: o Filme Histórico de Stanley Kubrick
