By Daniel S. Traber (auth.)
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Additional info for Whiteness, Otherness, and the Individualism Paradox from Huck to Punk
Example text
At any time, forms of alternative or directly oppositional politics and culture exist as significant elements in the society. . The reality of cultural process must then always include the efforts and contributions of those who are in one way or another outside or at the edge of the terms of the specific hegemony. (113) Those who confront the ruling bloc may not succeed, but there is always the capacity to do so—there is always the possibility of social change, even upheaval. The subordinated can contest and transform society and culture by negotiating the lines of power.
Qtd. in Arac, Idol 38) Thus, we witness Huck consciously go against the laws and customs of his society in a manner that reverses the disciplinary classification of criminality/ deviance to make the negative into a positive. The definition of a “criminal or deviant depends upon what certain powerful groups decide is threatening, disgusting, and so on, and upon the ability of those groups to persuade legislators” (McCaghy 81). Twain uses Huck’s outlaw identity to stage resistance against the dominant values of white society.
Crane is worried about his artistic future; therefore, it is not wholly a matter of his showing the bourgeoisie the “truth,” nor that a more honest choice of literary topics was made, nor how sincere Crane is in the endeavor. What should be noted is the logic informing his choice of Maggie 45 subject and the claim that it is more interesting because more “true,” more gritty, thus more scandalous to the parlor room matrons and young women who composed the majority reading public (see Budd 37–38).