Separatism and Assimilation in Contemporary United States

'Get Out' (2007)

One representation of African-American identity is seen in the film ‘Get Out’. The 2017 film, released three months ago, explores the themes of separatism and aspects of assimilation.

The film depicts the story of an inter-racial couple, Chris and Rose, who visit Rose’s parents. The assimilation of African-Americans is conveyed through the wish for the integration of the inter-racial couple. Although it is predominantly a horror film, there are very clear examples of racism against African-Americans throughout. Separatism becomes a very clear theme throughout this film, where the racism that African-Americans experience, encourages them to want to separate from the white, elite community surrounding them.

From the beginning of the film, Chris questions his worth in his relationship with Rose. From the trailer alone, his self-doubt “do they know I’m black?”, expresses his fears as to whether Rose’s parents will accept him based on the colour of his skin. Rose’s response “should they?” highlights the contemporary view of those who believe in equality and assimilation.

As the film progresses, it brings to light the unfortunate, unrealistic reality of universal acceptance. On route to the parents’ house, the couple experience a racist encounter with a white, Sheriff Officer. He requests the ID of Chris, based on the colour of his skin, even though he was not driving. This is again shown in the trailer. In addition to this, it is also important to highlight the reaction or Rose’s parents to Chris and Rose’s relationship. The two appear to not take their relationship seriously and refer to the couple as a “thing”.

There is also the theme of racial subordination in the film. Within this white, elite, community, there are African-American workers who are labouring for the families. In addition, the horror theme conveys a darker racism towards African-Americans. The use of hypnosis to keep the registered ‘missing’ African-Americans working for them and living amongst the society, gave a more sinister aspect to the racism.

So far, this film has been a big success in the box office, earning a domestic $111 million already. American business magazine ‘Forbes’ has even referred to this film as bring to light ‘a devastating portrayal of race relations in America’. In the contemporary United States where there are still controversies over equality, this film is key to surfacing experiences of racism that may be otherwise be overshadowed.

Sources:

https://www.forbes.com/sites/natalierobehmed/2017/03/13/get-out-is-the-movie-hollywood-and-america-needed/#7cf0a4bc3c51

https://www.youtube.com/watch?v=DzfpyUB60YY

Ragged Dick - Critical Pieces

Gorman Beauchamp:

'...'Ragged Dick' established the core plot that Alger was to repeat, with minor variations, over a hundred times: the tale of a poor but honest lad who, through grit, industry and some well-deserved luck, pulls himself up from poverty and into middle-class responsibility.'

This is a statement that is easy to agree with, because without even looking into Alger's other novels, 'Ragged Dick' is most definitely a rags-to-riches story, even if the relative degree of riches obtained by the end is moderate at best. At the beginning of the book, Dick is described as sleeping in 'a wooden box half full of straw', showing that, although he does have (a semblance of) a home, it is definitely sat in the depths of poverty. Also, Dick himself is described as 'not [thinking] it necessary to remove several dark streaks on his face and hands', which shows that Dick has settled into poverty well enough that it's got to the point where it is natural to him. In contrast, in Chapter 12, Dick possesses 'the appearance of a very respectable, gentlemanly boy, whose presence would not discredit any establishment', and had a 'present cash capital consisted of nearly five dollars in money, besides the valuable papers contained in his wallet'. $5 at that time would be almost $150 now which, although it might not seem like much to us, is the single largest amount of money Dick has ever possessed, especially in raw cash, and it is thanks to that grit and industry which allowed Dick into the middle-class.


Cara Erdheim:

' One cannot really talk or write about American literature, which contains various voices and a multitude of perspectives, without referring to some element of the American Dream.'

Although there are certainly multiple famous writers and many famous novels which are thought of when one thinks about American literature, Beauchamp's point of Alger essentially repeating his plot in a hundred different novels really limits the perspectives and voices of American literature that we get. Despite this, we definitely get a view of the American Dream from the perspective of Dick. In Chapter 12, Dick is said to have 'turned over a new leaf, or resolved to do so'. Now that he is in possession of some capital, he is capable of following his dream of leaving poverty and becoming a member of the middle-class, or at least becoming  more '[advanced] in the world'. Such an idea of rising from poverty into financial prominence is arguably one of the core aspects of the American Dream, particularly modern interpretations of it. Such ideas could be found on Wall Street before the financial crash of 1987.

John Swansburg:

'It’s no surprise that Alger’s novels have disappeared from school curriculums and library shelves. There’s more narrative tension in an episode of Scooby-Doo than an Alger novel.'

At least Swansburg is not saying that there's no narrative tension, right? That being said, it is easy to agree with Swansburg, as the vast majority of the 'events' of the novel are somewhat predictable, and even if they aren't, they are solved with little to no real conflict. For example, when Dick and Frank is accused of stealing a woman's purse, the case is closed as soon as she takes a proper look in her bag. The lady may have had a rough attitude with Dick and Frank, especially where she says things to them 'spitefully' and 'furiously', but the conflict is eventually solved, after being dragged out for four or five pages.

Ragged Dick

Gorman Beauchamp

'... the Alger hero seldom, if in fact ever, rises from rags to riches; instead, he achieves a comfortable middle class niche in what today would correspond to an entry-level executive trainee program...'

Ragged Dick is often said to set up the 'Alger formula' of a story that features a young boy struggling and uses hard work and respect, as well as luck, to work his way up through the social classes. They are often called rags to riches story due to this nature of the stories. However, some people would argue that rags to riches is not the right way of putting it, offering other suggestions such as rags to respectability. As is pointed out in Beauchamp's article, rags to riches may not be an accurate description as the central figures of Alger's novels, such as Dick, do not come in to wealth or large amounts of money, rather they end up in respectable jobs often held by the middle classes. Dick's experience of this is when he is offered the job of clerk by Mr. Rockwell. Clerk is not a necessarily high paying job, but it is a middle class job and certainly better than shoe shining. Secondly, Dick goes through a transformation throughout the book in his appearance and the clothes he wears. This transformation is best summed up when he introduces himself as Richard Hunter. This rather completes his transformation from Ragged Dick the bootblack to Richard Hunter, Esq. This key transformation of Dick presents him as a more respectable person, suggesting that the phrase rags to respectability is more appropriate.

Cara Erdheim

'... says Pitofsky, who claims that Ragged Dick is less about selfish individualism and more about assimilation into an upwardly mobile community.'

This quote suggests that Alger uses Ragged Dick as a way to discuss and promote assimilation into a community as opposed to the strength of individualism. Individualism is believed by some to be the key message behind Ragged Dick, suggesting that Dick is able to move up the social ladder thanks to his hard work and looking out for himself. However, Erdheim suggests that Pitofsky believes that this focus on individualism is insignificant and Alger's focus is on meritocracy. The assimilation into higher social classes can be seen in Ragged Dick by the way in which Dick is aided by adults in several situations. For example, Mr Whitney gives him his first suit. Mr Whitney is a part of the middle class and, by giving Dick a suit, opens up the door into the middle class for Dick. The suit makes him look more respectable. This is important as first impressions were key at this time. The help that Dick receives from those already part of the middle class which he aspires to join, shows that it is the help that is key to his success and not solely his hard work and individualism.

John Swansburg

'... the hero's rise is the result of good luck and the good offices of a wealthy benefactor.'

In his article, Swansburg suggests that the common conception that Alger's novels advocate hard work and reputable character as the keys to success is a false one. He states that 'these attributes merely qualify the Alger hero for success; they don’t produce it.' Swansburg believes that while hard work and good character may help, a certain amount of luck and help from others is needed for the upward mobility of Alger's heroes such as Dick. Both of these can be seen through Mr Rockwell. Dick's upward movement is finalised by Mr Rockwell when he offers him the job of clerk. This offer of a job as well as they suit is an example of the help that Dick requires to complete his transformation from Ragged Dick to Richard Hunter. Furthermore, he only meets Mr Stockwell after saving his son who falls of the ferry. This shows the element of luck as it was a case of Dick being in the right place at the right time. If this did not happen or if Dick was not present then he would not have met Mr Rockwell and earned the offer as a job as a reward. Also, as Swansburg points out, this happens at a convenient time where Dicks penmanship is improving, a skill key for the job.

Sources

Gorman Beauchamp, 'Ragged Dick and the Fate of Respectability', http://quod.lib.umich.edu/m/mqrarchive/act2080.0031.003/34:7?page=root;size=100;view=pdf

Cara Erdheim, 'Why Speak of American Stories as Dreams'
Why Speak of American Stories as Dreams-.pdf

John Swansburg, 'The Self-Made Man'
http://www.slate.com/articles/news_and_politics/history/2014/09/the_self_made_man_history_of_a_myth_from_ben_franklin_to_andrew_carnegie.html (Links to an external site.)

Ragged Dick: Critical Reviews

Critical Reviews of Alger's 'Ragged Dick'.

Gorman Beauchamp:

Gorman Beauchamp critiqued Alger’s works in the Michigan Quarterly Review. Throughout his review, he debates the popularity and success, as well as the limitations of the Book ‘Ragged Dick’, which sold at least a billion copies.

Beauchamp suggests that a key plotline in Alger’s works is the idea that “a poor but honest lad who, through grit, industry and some well-deserved hard luck, pulls himself from poverty and into middle-class respectability”. He admits that whilst it does suggests that there is perhaps little variation in Dick’s works, he believes that ‘Ragged Dick’ “clearly answered to something deep and abiding in the American psyche”. It is the encouragement and even reassurance of a character who is able to change their life through hard work, that connected to intimately with the American public.

Furthermore, this can link to the ideological theme of opportunity that is enshrined in the American identity. For Beauchamp, ‘Alger’s stories are stories of beginnings’ and ‘Ragged Dick’ presents someone who rises in society. It is key example of American opportunity being conveyed within literature.

On the other hand, Bauchamp does bring to light those who have critiqued Alger for his character not necessarily rising ‘rags to riches’ as two extremes. Instead, they are rising to the mainstream middle-class standard of living. Cawelti even suggested that ‘Alger hero’s fortune to consist of no more than $10,000, prominence” (Cawelti was a writer for Time).  Perhaps aiming for the middle-class standard of living was intentional, as at the time it may have been a lot more achievable than striving to the upper class standard of living.

Finally, according to Beauchamp, another key theme that Alger explores is respectability instead of materialism or wealth. For Beauchamp, Ragged Dick is ‘engaging’ and holds ‘high spirits’, as well as conveying the ‘merits of middle-class respectability and responsibility’. When looking back at the book, a moment that interlinks with the key theme of respectability is when Ragged Dick has his suit replaced. It highlights the change in himself as a character as well as the shift in his position in society.

Cara Erdheim:

Erdheim intricately critiques Alger’s books, whilst also bringing to light the wider historical aspects surrounding his works.

For Erdheim, ‘Ragged Dick’ is a clear representation of the American Dream. Erdheim even suggests that it’s success places it alongside other classics, such as Benjamin Franklin’s Autobiography, ‘The Great Gatsby’, and ‘The Death of a Salesman’. As a critical review, Erdheim explores the wider context behind the American Dream. A term coined ‘in the wake of the Great Depression’, it was James Truslow Adams that defined the dream. He believed that ‘one that would allow all men and women, regardless of their origin or social status, to prosper in a place of free and equal opportunity’.

The American dream is central to ‘Ragged Dick’. No matter what obstacles are faced, being another character or event, it is the persistence and hard work of Dick that achieves the American Dream. It is the genuine wish to do better. An example of this is even at the end of the book, Dick saves a drowning boy, without hesitation and without any knowledge of a reward. It is working hard to achieve better results, and not to put down those around you.

John Swansburg:

John Swansburg conveys his critical thoughts on Alger’s ‘Ragged Dick’ in his article ‘The Self-Made Man’ for ‘Slate’. Within this critical piece, Swansburg identifies individuals who were ‘self-made’. This includes Benjamin Franklin, Amos Lawrence, Andrew Carnegie, Horatio Alger, and others.

When looking closer at this critical review of ‘Ragged Dick’, Swansburg suggests that the book conveys a story of ‘well-deserved fortune’. He links the themes conveyed in the book to the philosophical ‘virtues’, which look towards self-improvement.

Swansburg also highlights how Alger’s writing was adaptable to reach a larger number of readers. According to Swansburg, during Alger’s time, he was ‘credited with inventing a moral hero, who becomes modestly successful’. His writings had the ability to be adapted and resold to also appeal to a ‘new generation of readers’. It is this moral hero that is presented in ‘Ragged Dick’, and has made the book so successful.


When summarising these critical reviews, I found deeper critical analysis of Alger’s works within Beauchamp and Erdheim’s writings. While all three critics’ reviews are plausible, it was the close analysis and overview that Beauchamp provided, along with the historical background of Erdheim that proved the most useful to me.

For further interest:
https://www.youtube.com/watch?v=stFEYuR4oWo

Sources:
http://bekminsterabbey.blogspot.co.uk/2006/01/response-to-ragged-dick.html
http://www.gradesaver.com/ragged-dick/wikipedia/major-themes

Ragged Dick and 3 critical pieces

Gorman Beauchamp:
"... the tale of a poor but honest lad who, through grit, industry and some well-deserved luck, pulls himself up from poverty and into middle-class respectability."

The transition that Dick endures throughout 'Ragged Dick' is evident throughout the book, with constant references to his improved appearance and cleanliness. Examples of this include chapter 1, where Dick is described as "rather peculiar", with clothing missing buttons, torn and 'ragged'. As the story develops in chapter 3,  Dick meets Frank, a wealthy boy from the country. Frank's Uncle employs Dick to show his nephew the city of New York and gives him some new, nicer clothing to replace Dick's "ragged and dirty" clothes. Immediately after when Dick and Frank are walking through the street, people who supposedly know Dick, don't recognise him, highlighting the aesthetic importance regarding class in 19th Century New York. When Dick sees the servant who doesn't recognise him, Dick exclaims, "he don't know me" and "he thinks I'm a young swell". This also highlights the divisions within the classes, as the servant did not recognise Dick now that he wore finer clothing. A servant would have been fairly low on the socio-economic spectrum at the time, so would be more likely to mix and socialise with the likes of Dick. The fact then that he did not notice it was Dick in his new clothes, reinforces this. It also implies that people very much tended to judge people at face value, and perhaps this is one of the key issues that Alger aimed to convey to his young readers.

Cara Erdheim:
"...in the wake of the Great Depression, James Truslow Adams, in The Epic of America, defined the dream as one that would allow all men and women, regardless of their origin or social status, to prosper in a place of free and equal opportunity..."

This is certainly a large factor in 'Ragged Dick', as it is explained to the reader in chapter 8 that Dick had been fending for himself for half his life, since he was seven when "the woman died and her husband went out West". Because of this, Dick did not attend school and was therefore limited to what he could achieve in life, due to his inadequate specialist skills. Indeed throughout the book, Dick mentions his ambitions of being an "office boy" and highlights the fact that he is willing to learn. But due to his unfortunate circumstances, Dick had not been able to get an education, as he needed to work in order to survive. A lot of the opportunities that are offered to Dick often only happen due to chance encounters with generally sympathetic people, who have the means to make a difference to Dick's life. This is perhaps a romanticised depiction of the 'American Dream', as Alger combines Dick's persistently positive attitude with the concept that good fortune will follow those who deserve it. Although not described as a perfect character, Dick's character is perhaps a depiction of the United States and how it has grown from having very little into the super power it is today. By the end of the book, Dick no longer goes by the name 'Dick' and refers to himself as "Richard Hunter", implying a certain level of maturity and self respect that was lacking at the start of the book.

John Swansburg:
"...Benjamin Franklin is undoubtedly the original self-made man..."

This quote is interesting, as it lays the foundations for how a 'self-made man' should appear and perhaps even what it is to be truly 'American'. Franklin was born in 1706 in Boston to Josiah Franklin and Abiah Folger. His father was a soap and candle maker. Franklin learnt to read at an early age and attended school until the age of 10, when he went to work with his father and then his brother James at his print shop. Despite the hardship of being beaten frequently by his brother, Ben was able to learn a lot about the newspaper business and in his late teens, he was getting his own work published.
In 'Ragged Dick', there are some similarities and some key differences between Franklin's upbringing and Dick's, which questions the true definition of a 'self-made man'. Unlike Franklin, Dick did not attend school, so was immediately limited with what he could do with his life. Moreover, the fact that Franklin was given an education, implicates the idea of him being a 'self-made man' as being not entirely true. Dick however, had managed to survive on the streets for 7 years having never been educated. He also plied his own trade as a boot shiner, for which he earned enough to be "careless of his earnings". At this stage it appears that Dick is more of a 'self-made man' than Franklin, as he'd had to live his life without the support of a large family, with various openings into lines of work. Further through the book, James Rockwell offers Dick a job at his office to thank Dick for saving his son. Rather than obtaining a position through nepotism, like Franklin, Dick's courage and work ethic is rewarded when he is given the job. It are his actions that lead him to obtaining what he ultimately had always dreamed for at the end of the book, and to me, that makes Dick more of a 'self-made man' than Franklin at this stage of his life comparatively.

References:

http://quod.lib.umich.edu/cache/a/c/t/act2080.0031.003/00000034.tif.1.pdf#zoom=75

file:///C:/Users/Rob%20Brown/Downloads/Why%20Speak%20of%20American%20Stories%20as%20Dreams-%20(1).pdf

http://www.slate.com/articles/news_and_politics/history/2014/09/the_self_made_man_history_of_a_myth_from_ben_franklin_to_andrew_carnegie.html

http://www.biography.com/people/benjamin-franklin-9301234#early-life

The Searchers - ambush on scar

In this scene the texas rangers arrange an ambush on Scars' Indian camp. They did this to try and get Debbie back from Scar and to get revenge on Scar for taking her away and murdering his family. The scalping of scar shows the extent of the revenge Ethan wanted on scar, probably due to taking of Debbie and past conflicts between them. In a sense could be seen as unnecessary as scar was already dead and Debbie had been saved by Martin, and so the scalping shows the length that Ethan was willing to go to get revenge. The scalping of scar can also represent the "hero" killing the "villain" scenario which is portrayed in most Hollywood western/action movies. Scalping in America was used for the whites as a way of getting money for the proof of Indians killed, which could have also been an incentive for Ethan to scalp scar, as well as the grudge held against him.


Sources:
https://www.manataka.org/page1438.html

The Searchers

There were many scenes that stood out to me in regards to how it represents traditional Western American values but the one that I thought had a bigger impact was when Martin was speaking to Laurie. This is due to the fact that it breaks a lot of the tradition in what makes a man and a woman.

We see that Martin and Laurie are speaking about their relationship to which he says: 'You know, Laurie, I was just thinking that maybe it's about time you and me started going steady, huh?' This is something that would be said by the woman traditionally as it is something that would be traditionally feminine. We can see throughout the movie how the stereotypical gender roles are being defined and how they are being changed. For example, when they were both speaking about their relationship, Laurie pushes Martin over the bench, which can typically be questioned as this is not something that would be associated with what a woman would do. This can question the myths that are normally associated with Western America, we see males that typically fall under the myths of Western America, for example - Ethan.

We see Ethan at the beginning of the movie as the scene is set with him riding towards the camera on his horse wearing a 'cowboy hat', one of the main things that you would categorize with Western America. We see him as the main protagonist demonstrating throughout the film his intelligence with the Native Americans. We see the scene when he speaks to Scar, he speaks in the native tongue, seeking justice as the typical enemy of the typical cowboy with the badge. We also see Ethan living up to typical American standards of being white. When Debbie is taken from them and they find her with the Native populace, he leaves/wants to kill her. He does say that she is one of them due to her tan from being in the sun and wearing the cultural garments the natives did. 
We see him being the typical cowboy who has trouble following him wherever he goes. This could be argued why right at the end of the film, we see him walking away from the house once he brings back Debbie and everyone goes in. We could argue that he knows that he did what he originally set out to do. He promised to bring her home and one of the traditions of being a cowboy is not breaking a promise. 

Going back to the movie, a lot of the scenes take place where the sky is blue and there is nothing/very little in the background. This is something that is typically seen throughout all Westerns and it's something that makes the movies unique and something that lives up to It's traditions. We see at times where the land becomes part of what is happening on screen, for example, when the Americans are running across the river and then natives are following, the Americans shoot at the natives crossing the river. Due to the water, it would make it harder for the natives to flee due to the force and pressure of them trying to move with the water hitting the legs of the horse. This shows the river/surroundings joining in within the shootout taking place.
We even see something similar when Ethan and Martin are sleeping. Someone is using the rocks as an advantage for height to shoot Martin and Ethan (at the time, Ethan used Martin as bait)