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• W2317776970 abstract "Unlike other expatriates of his day, such as Henry James and Edith Wharton who are frequently seen more as cosmopolitan writers than strictly national ones, Harold Frederic has been cast as unequivocally American. Despite the fact that he spent most of his adult years living in England as the European correspondent for the New York Times, and was more familiar with the political and literary clubs of London than with the scene of his native upstate New York, Frederic is nonetheless portrayed primarily and unproblematically as an American colorist. The incongruous combination of his status as an expatriate and his literary reputation as writer of the Mohawk rarely merits critical attention. If it does, then it is mainly to bolster the author's identification with the United States. Edmund Wilson, for example, defensively insists on Frederic's Americanness, arguing that despite many years overseas, he is still an upstater who wrote within the regional field. Frederic's most recent biographer, Robert Myers, similarly describes his expatriation as unfortunate, since he was local color realist [who] needed to stay in contact with his American roots (Reluctant 164). Frederic's Americanness was not solely construction of the twentieth century, but also sentiment shared by his contemporaries. Upon meeting him in London in 1886, Stephen Crane expected to find that fourteen years of expatriation had distanced Frederic from his American roots. Instead, he found a familiar figure, with no gilding, no varnish, great reminiscent panorama of the Mohawk Valley (qtd. in Myers, Reluctant 25). This image of the upstate man, resistant to the assimilating forces of Europe, was an image that Frederic himself promoted in interviews, where he rarely spoke about his soirees in London society, preferring instead to recount his supposedly humble origins in Utica, New York.1 Rather than determining whether or not Frederic was an authentic American in the sense of retaining his accent, certain style of dress, or other markers of national distinctiveness, I want to emphasize how he has come to signify nationalist spirit of inviolate Americanism. Why have critics from the 1890s to the present been so eager to cast this emigre writer as paragon of national loyalty? The insistence on his Americanism betrays an anxiety that Frederic himself had toward his changing relations to the United States. Having to support two wives and seven children, Frederic had little opportunity to return to America, which seemed to suit him as he felt increasingly at home in" @default.
• W2317776970 created "2016-06-24" @default.
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• W2317776970 date "1997-01-01" @default.
• W2317776970 modified "2023-09-26" @default.
• W2317776970 title "The Americanization of Theron Ware" @default.
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• W2317776970 doi "https://doi.org/10.2307/1345966" @default.
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