Synopses & Reviews
Synopsis
Traditional literary histories of Revolutionary-era America tend to privilege the works of Benjamin Franklin, Thomas Paine, and other ardent Patriots eager to see the thirteen colonies sever all ties with the British Crown. Yet the literature produced by Loyalists--the faction of colonists opposed to severing ties with Britain--made up an equally important part of the nation's burgeoning literary culture. With ample attention to both Loyalists and Patriots,
Writing the Rebellion reveals the complicated ways colonial Americans sought to reconstruct their English identities at a moment of political crisis, when the British Empire was falling apart in North America.
Employing the methods of transatlantic literary studies, postcolonial theory, and the history of the book, Philip Gould considers how British Americans coped with what amounted to a cultural identity crisis. Each chapter addresses an important subject of literary history and literary form--sublime writing, wit, balladry, satire and burlesque, questions of authorship, and regional identification--to show how the literature of politics operated simultaneously as the site where aesthetic and cultural matters were also contested and reconfigured. By re-mapping the literature of revolutionary politics in this way, and accounting for the Loyalist presence in political debate, Writing the Rebellion offers a new literary and cultural history, not of the American Revolution but of an "American Rebellion."
Synopsis
Writing the Rebellion presents a cultural history of loyalist writing in early America. There has been a spate of related works, but Philip Gould's narrative offers a completely different view of the loyalist/patriot contentions than appears in any of these accounts. By focusing on the literary projections of the loyalist cause, Gould dissolves the old legend that loyalists were more British than American, and patriots the embodiment of a new sensibility drawn from their American situation and upbringing. He shows that both sides claimed to be heritors of British civil discourse, Old World learning, and the genius of English culture. The first half of Writing the Rebellion deals with the ways "political disputation spilled into arguments about style, form, and aesthetics, as though these subjects could secure (or ruin) the very status of political authorship." Chapters in this section illustrate how loyalists attack patriot rhetoric by invoking British satires of an inflated Whig style by Alexander Pope and Jonathan Swift. Another chapter turns to Loyalist critiques of Congressional language and especially the Continental Association, which was responsible for radical and increasingly violent measures against the Loyalists. The second half of Gould's book looks at satiric adaptations of the ancient ballad tradition to see what happens when patriots and loyalists interpret and adapt the same text (or texts) for distinctive yet related purposes. The last two chapters look at the Loyalist response to Thomas Paine's Common Sense and the ways the concept of the author became defined in early America. Throughout the manuscript, Gould acknowledges the purchase English literary culture continued to have in revolutionary America, even among revolutionaries.