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• W2890770876 abstract "LAURA J. SCHROCK University of Mississippi “Too Little to Count as Looking”: Blackness and the Formation of the White Feminine in Eudora Welty’s The Golden Apples ALMOST WITHOUT EXCEPTION, EUDORA WELTY’S NOVELS AND SHORT stories focus on the struggles of white characters, typically female, in search of selfhood. For this reason, critics tend to explore the appearance of black characters in the fiction, if at all, as instances of Welty’s penchant for “doubling,” an emphasis which often comes at the expense of the significance of the role of a specifically black double.1 Perhaps this tendency helps account for the absence of any sustained treatment of the appearances of black characters in the story cycle The Golden Apples and the fact that crucial black actors and witnesses in these narratives easily escape notice.2 But if these stories dramatize white self-formation, the manifestations of black presences, however marginal in their articulation, must be anything but marginal in import. Mistaking the representation of black characters as extraneous, we fall into a common trap Toni Morrison has cautioned against, the assumption that “the characteristics of our national literature emanate from a particular ‘Americanness’ that is separate from and unaccountable to this presence” (5). Moving beyond the treatment of black characters in Welty’s work 1 For example, even in an article entitled “Recovering Otherness in The Golden Apples.,” Susan V. Donaldson almost entirely confines her study of pairings to the white characters; although she mentions Virgie Rainey’s “unspoken bond” (506) with the black beggar woman at the conclusion of The Golden Apples collection, she does not elaborate on the particularity of this pairing. 2 Suzanne Marrs provides a partial analysis of black characters in The Golden Apples, but largely confines her study to Delta Wedding, explaining that “Black characters . . . are not so prominent [in The Golden Apples] as they are in Delta Wedding, but they are essential to the book’s thematic development” (702). 96 Laura J. Schrock as merely atmospheric or “decorative”3 allows for an explanation of their active role in constituting her depictions of American selfhood, a process revealed intimately in much of her fiction. In “Sir Rabbit” and “Moon Lake,” which figure early in The Golden Apples, Welty probes the formation of a specifically white feminine consciousness as it works out its identity in the context of racial and sexual stratifications of the American South and thereby highlights the pivotal role blackness plays in the definition of white sexual normativity. In both stories the representative white females participate in the construction and valorization of a specifically American mythic masculinity, that of the aloof and violent white Western expansionist, in order to maintain racial privilege even at the expense of sexual subjugation. The perpetual reification of this white masculine ideal benefits the white female to the extent that it reinstates her privileged status as sexual conquest and, inversely, as potential seducer and conqueror of the dominant figure on the mythic American landscape. The white woman enjoys the cultural capital of proximity to the one who is “both white and male,” and thus finds herself potentially in conflict with the black man who, though black, might take advantage of the cultural capital of maleness.4 Because the black man’s potential for sexual dominance threatens to uproot the lynchpin of the entire system of white privilege, namely the preeminence of race as cultural marker, his masculinity necessitates emphatic suppression. “Sir Rabbit” and “Moon Lake” depict these crucial categories of racial and sexual privilege to be always already trembling on the verge of collapse, as the white feminine consciousness must call forth and encounter the threatening figure of the black male in order to ensure its repression. 3 Morrison remarks on her initial naivete about the presence of African Americans in traditional American literature: “As a reader my assumption had always been that . . . Africans and their descendants were not, in any sense that matters, there; and when they were there, theyweredecorative—displaysoftheagilewriter’stechnical expertise” (16). 4 Robyn Wiegman explores how early pseudo-scientific studies contributed to the construction of an anatomical analogy between the black male and white female brains, a comparison which “simultaneously differentiated and..." @default.
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• W2890770876 title "“Too Little to Count as Looking”: Blackness and the Formation of the White Feminine in Eudora Welty’s The Golden Apples" @default.
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• W2890770876 doi "https://doi.org/10.1353/mss.2013.0036" @default.
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