Alice Dunbar-Nelson's Local Colors of Ethnicity, Class, and Place

Alice Dunbar-Nelson’s The Goodness of St. Rocque, and Other Stories (1899) plays with the diminutive description of “charming” often given to local-color writers in order to imagine alternative social relations in an era determined by modes of difference and exclusion. Charm—an aesthetic category most generally understood to be manipulative, feminine, and a distracting accessory to beauty—becomes the method supporting this collection’s challenge to the contemporary discourse of “social equality.” In the late nineteenth century, social equality was a distorted idea meant to accuse those pushing for civil rights of also seeking to eliminate individual choice from the social world and the public sphere or, at the most extreme, of advocating intermarriage of the races. In her short story collection, Dunbar-Nelson responds to the issue of social equality not directly but through her unique understanding of how literary form and character could charm readers into attachments beyond intersubjective desire or assured knowledge. Throughout The Goodness of St. Rocque, and Other Stories, her narrators mystify the reader’s search for knowledge and turn characters into resistant objects. Building on critical conversations about Dunbar-Nelson’s challenges to racial categorization, this essay explores the connections between aesthetics and politics in the early work of this writer, a writer who otherwise expressed a desire to maintain a distinction between those two goals for her fiction.

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Alice Dunbar-Nelson's Local Colors of Ethnicity, Class, and Place

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Orchestra seats: Passing in cinema

Orchestra seats: Passing in cinema

Alice Dunbar-Nelson’s Charm Aesthetics and the Bugbear of Social Equality

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