In January 1932, anthropologist Ruth Benedict writes a letter to her colleague Margaret Mead on fieldwork in New Guinea, bringing Mead up to date on the health of “Papa” Franz Boas. Boas, the academic mentor that Benedict and Mead shared at Columbia University, acts as only the momentary locus for their continuing exchange about life and work and the relationship between the two. After giving “her hospital report,” Benedict turns eagerly to another conversation with Mead, asking, “Did you likeThe Waves? And did you keep thinking how you'd set down everybody you knew in a similar fashion? I did. I suppose I'm disappointed that she didn't include any violent temperaments, and I want my group of persons to be more varied” (Mead,Anthropologist at Work, 318). Focusing on the depiction of characters in Virginia Woolf's 1931 novelThe Waves, Benedict presents modernist fiction as a model for ethnography. However, she completely avoids the literary termcharacterin her discussion of Woolf, a particularly odd omission since Benedict had majored in English at Vassar College and since she and Mead regularly exchanged novels and their own poetry in letters.Ruth Benedict's reading ofThe Waveshas been cited as evidence of her tendency toward a vaguely “poetic” anthropology, an argument that tends to separate the aesthetic from the sociopolitical in both Benedict and Woolf. In this essay, I consider Benedict's reading of Woolf, together with Margaret Mead's subsequent response, as evidence of a shared critical engagement with character, culture, and sexuality in the early 20th century.
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