John O’Brien’s Literature Incorporated Wins the Louis Gottschalk Prize

It is one thing to write a book. It is quite another for that book to receive widespread acclaim from one’s peers, as is the case with Literature Incorporated: The Cultural Unconscious of the Business Corporation, 1650-1850, the most recent work by John O’Brien, NEH Daniels Distinguished Teaching Professor in U.Va.’s Department of English. Literature Incorporated has been awarded the Louis Gottschalk Prize, presented annually “for an outstanding historical or critical study on the eighteenth century” by the American Society for Eighteenth Century Studies.

One need not be aware of the Supreme Court’s 2010 ruling in Citizens United or of Mitt Romney’s statement that “corporations are people” to benefit from a close reading of Literature Incorporated. Its subject is the corporation, “an abstraction that gathers up a long history of institutions and practices as varied as city governance, guild organization, state-sponsored colonial exploration, money lending, insurance, slave trading and university funding.”  Its method is to trace the trope of incorporation in a wide range of Anglo-American texts, including “economic tracts, legal cases, poems, plays, essays, novels, and short stories.” And its goal “is to discover some of the ways in which language has ‘repeated’ the influence of the corporation to us, given it form in our imaginations.”

The U.Va. Library is proud to have earned a place in the book’s Acknowledgements. Indeed, most of the works discussed in Literature Incorporated (and many more that inform and amplify its arguments) can be found in the Albert and Shirley Small Special Collections Library. Here is a modest selection, which we invite you to come explore in more depth.

King as corporation, comprised of the bodies of his subjects. Detail from the engraved title page to Thomas Hobbes, Leviathan (London, 1651). (E 1651 .H658; Tracy W. McGregor Library of English Literature)

Literature Incorporated begins with Thomas Hobbes’ work of political theory, Leviathan (1651). Its famous engraved title page “offers an image of incorporation, of the people of a realm incorporated into the sovereign.” Although Hobbes viewed private corporations as potential rivals to government, O’Brien shows how Alexander Hamilton and John Marshall, among others, appropriated Hobbes’ language in support of corporations.

The Carolina Company’s vision for its American colony, drafted in large part by John Locke. The Two Charters Granted by King Charles IId to the Proprietors of Carolina (London, 1698). (A 1698 .G746; Tracy W. McGregor Library of American History)

Among the earliest English corporations were entities such as the Carolina Company, chartered by the sovereign to promote colonial settlement and trade. The philosopher John Locke was instrumental in developing the English mercantilist system, and O’Brien traces Locke’s crucial role in drafting the company’s Fundamental Constitutions (1669; final edition 1698), in which the Carolina proprietors envisioned the society they hoped to establish in the New World. Indeed, Locke’s empiricist philosophy permeates the document.

Frontispiece and title page to an early edition of Richard Steele’s The Conscious Lovers (London, 1735). (PR3704 .C66 1735)

Another such company, the South Sea Company, was at the heart of one of the greatest financial bubbles of all time, the South Sea Bubble of 1720. The speculative frenzy and resulting financial crash can be traced in many contemporary literary works, such as Sir Richard Steele’s play, The Conscious Lovers (1720). To the familiar plot lines of marriage and mistaken identity Steele added innovative complications concerning property rights. Steele also found himself accused publicly, through his involvement with the Drury Lane Company, of creating a theatrical equivalent of the South Sea Bubble to unfairly inflate the play’s ticket prices.

Tobias Smollett on why a novel needs a “principal personage,” from The Adventures of Ferdinand Count Fathom (London, 1753). (PR33694 .F54 1753 v.1)

The 18th century also saw the rise of insurance companies, which offered protection from risk and the fickle winds of divine providence. O’Brien demonstrates how contemporary English fiction’s “well-known investigations of risk and reward look different when they are read in the context of insurance history.” A perfect example is Tobias Smollett’s Adventures of Peregrine Pickle (1751), in which the plot is driven by Peregrine’s involvement with two different insurance policies. O’Brien also invokes Smollett’s famous statement, in the preface to The Adventures of Ferdinand Count Fathom (1753), that a novel requires “a principal personage to attract the attention, unite the incidents, unwind the clue of the labyrinth, and at last close the scene by virtue of his own importance.” In O’Brien’s words, the protagonist of a novel “resembles the corporation itself, a prosthetic person who helps bring the broader organization of a specific kind of economic activity into representation.”

Frontispiece to The Interesting Narrative of the Life of Olaudah Equiano (London, 1789). (CT2750 .E7 1789; Gift of Mrs. Emily D. Kornfeld)

During the late 18th century, the London Society for Effecting the Abolition of the Slave Trade waged a successful abolitionist campaign. O’Brien traces how “the society became a corporate voice that found itself emulating the very entities that it sought to attack,” for example, through its frequent use of an emblem featuring a supplicatory slave on bended knee. However, one key abolitionist publication—The Interesting Narrative of the Life of Olaudah Equiano (1789)—deliberately separated itself in form and content from this corporate voice, instead establishing itself “as a kind of corporate representative [of] ‘the African.’”

Beginning of Edgar Allan Poe’s story, The Gold-Bug, which leads off his Tales (New York, 1845). (PS2612 .A1 1845 copy 3; Gift of D. N. Davidson)

Literature Incorporated concludes with a discussion of Anglo-American literary responses to the fiscal and banking crises of the 1820s, 1830s, and 1840s. In particular, O’Brien offers a close reading of The Gold-Bug, the lead-off story in Edgar Allan Poe’s Tales (1845) and his most popular with contemporaries.

And to wrap up: hold the date! Another recent recipient of the Louis Gottschalk Prize—David Hancock, Professor of History at the University of Michigan—will deliver this year’s Thomas Jefferson Foundation Lecture on Wednesday, April 5, 2017 at 4:00 p.m. in the auditorium of the Albert and Shirley Small Special Collections Library. His talk, “The Man of Twists and Turns: Personality, Portrait & Power in the Re-Shaping of Empire,” concerns the 2nd Earl of Shelburne, the British prime minister who helped negotiate an end to the American Revolution. The lecture is co-sponsored by the Thomas Jefferson Foundation and the U.Va. Library.

Collaborative Curation: Cori Field on Student Exhibitions

This week, we are pleased to feature a guest post by Cori Field of the Women, Gender & Sexuality Program. Cori is an exceptional colleague who really “gets” what an exhibition can do for her students. We are so lucky to have worked with her on the exhibition described below.

The “Sounds and Silences of Black Girlhood” exhibition resulted from a remarkable collaboration between undergraduates in the Women, Gender & Sexuality Program and Library staff. Finding archival sources by and about black girls is difficult even for professional historians because most collections are organized around the concerns of white adults. Undaunted, UVA students eagerly stepped up to the challenge. With the help of Molly Schwartzburg, Holly Robertson, and Erin Pappas, they identified a wide range of materials in Special Collections related to the global history of black girlhood, researched the significance of those items, and designed a compelling exhibit focused around the core themes of identity, resistance, and voice. In addition to curating the exhibit, they wrote longer articles about each item.

A screenshot of the blog that accompanies the exhibition. We encourage visitors to check it out to see the students’ hard work.

 

The key to this project was advanced planning. When I first decided to teach an advanced undergraduate seminar on the “Global History of Black Girlhood,” I met with Molly Schwartzburg to ask if it would be possible to produce a public history project from materials in Special Collections. Molly eagerly embraced the idea, volunteered her time, and most importantly, advised me on how to structure assignments so that students could complete the separate components of an exhibit on time. This early consultation enabled me to write an effective syllabus structured around the final project.

Because WGS is an interdisciplinary program, I knew most students in the seminar would not be historians and would likely be unfamiliar with archival research. To further complicate matters, sources on black girls are often hidden in larger collections and difficult to locate. It was therefore essential to provide students with some preliminary guide to relevant sources. The best resource was the expertise of Molly, Edward Gaynor, and other staff who pointed to numerous collections with promising material. Over the summer, Angel Nash, a Ph.D. student in the Curry School, worked with Edward and Molly to identify more sources and construct a bibliography of archival holdings at UVA related to black girlhood. By handing out this bibliography on the first day of class, I was able to give students the information they needed to hit the ground running.

Molly then met with class to discuss strategies for locating other types of sources. This became a history lesson in itself as students discussed the changing language of race and the complications of searching for people categorized variously as African, Negro, colored, African American, or black. Molly helped students to think about how different types of sources—for example, eighteenth-century travelogues, nineteenth-century wills, or early twentieth-century photographs—might prompt different types of research questions. Finally, she helped students figure out how to pursue their own interests by studying the past.

The best part came next as students went into Special Collections. Within two weeks, everyone in the class had identified a primary source that interested them and developed a plan for further research. The range of sources was amazing. For example, Nodjimadji Stringfellow found a 1820 memoir by a British official stationed on the Gold Coast. Dhanya Chittaranjan located a deed from a planter who presented his young granddaughter with the gift of an enslaved girl—”Martha Jane about six years old.” Diana Wilson, Emma McCallie, and Ivory Ibuaka all picked very different photographs from the Jackson Davis Collection. Lucas Dvorscak focused on a 1972 children’s book that retold the story of Alice in Wonderland with a black protagonist.  Samantha Josey-Borden found an original edition of Ntozake Shange, for colored girls who have considered suicide/when the rainbow is enuf. Other students found sources exploring black girls’ labor; resistance to sexual violence; creativity; and political organizing.

Some of the curators of the exhibition at the opening celebration with their instructor, Cori Field (far right).

The next challenge was to combine these materials into a coherent exhibit. Once again, Molly provided guidance, encouraging students to begin with the exhibition space. We went to the exhibition hall, looked at the cases, and talked about how different items might fit. We then returned to the seminar room and discussed organizational strategies. Students quickly rejected a geographical or chronological approach and decided to organize the exhibit around key themes—but what themes? Together, students brainstormed ideas, eliminated some, voted for others and grouped their items into three broad categories of identity, resistance, and voice. They also thought about the physical properties of the items themselves and came up with the idea of enlarging two particularly striking images and hanging these on the wall as the entry to the exhibit.

Two of the three exhibition cases that make up the exhibition.

The next challenge was locating secondary sources that would provide some historical context for every student. The subjet liaison for WGS, Erin Pappas, consulted with the whole class and then worked with individual students facing particularly difficult challenges. Some students who initially thought they couldn’t find any relevant information experienced the thrill of locating material, as when Erin helped Emily Breeding find information about the Lynchburg NAACP at Emory University. A quick call to Emory produced the information Emily needed for her article.

Condensing all of the information students had found into succinct labels was the greatest challenge of the course. Students were shocked to realize how little can be said in 150 words. Through multiple drafts, rigorous peer editing, and feedback from Molly and Holly, students all succeeded in crafting labels that draw the viewer in to the exhibit without providing too much detail. Writing longer articles enabled students to develop their insights in more detail for the accompanying blog.

Throughout this course, the students worked incredibly hard both on their own projects and on their thoughtful contributions to the collective project. I have never seen undergraduates edit each other’s work with such care and insight. The knowledge that this work mattered, that the exhibit would be available to the general public and visiting scholars, inspired a level of commitment and mutual support that is truly rare—in undergraduate seminars and in workplaces more generally. The students learned important skills in managing a complex project, working with others, and contributing to a shared product. At moments, they got incredibly frustrated, but then pulled together and took the project to a higher level. It was a true joy to be involved in this project.

Visitors interact with the blog on an iPad and peruse the artifacts on display during the exhibition opening party.

“The Sounds and Silences of Black Girlhood” will be on view in the first floor gallery at the Harrison-Small building through March 24, 2017.