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Mixed MessagesAmerican Correspondences in Visual and Verbal Practices$
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Catherine Gander and Sarah Garland

Print publication date: 2016

Print ISBN-13: 9781784991500

Published to Manchester Scholarship Online: January 2017

DOI: 10.7228/manchester/9781784991500.001.0001

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Photographic studies in the Hawthornes’ American Note-books

Photographic studies in the Hawthornes’ American Note-books

Chapter:
(p.34) 2 Photographic studies in the Hawthornes’ American Note-books
Source:
Mixed Messages
Author(s):

Jessie Morgan-Owens

Publisher:
Manchester University Press
DOI:10.7228/manchester/9781784991500.003.0003

When she edits the American Notebooks in the 1860s, Sophia Hawthorne will find passages that she calls ‘photographic studies.’ In this essay, Jessie Morgan-Owens examines each of Sophia Hawthorne’s photographic analogies by considering, at her invitation, the relationship between these realist nonfictional records and Nathaniel Hawthorne’s romantic fiction. When considered in light of the Hawthornes’ appropriation of the photographic and reflective as metaphors for a world they felt exceeded representation, Morgan-Owens’ analysis of these scenes reveals that photography’s significance extends beyond conventional alignments with the indexical real. For the Hawthornes—and as Morgan-Owens suggests, for American writing at mid-nineteenth-century in general—“to daguerreotype” implied a reflective surface in both senses of the word. In addition to the realist discourse of minuteness, accuracy and preservation associated with the written culture of early photography, there is a substantial supplemental system that gestures toward the invisible, the unsaid, and the unseen.

Keywords:   Sophia and Nathaniel Hawthorne, American Notebooks, Daguerreotype, Photographic studies

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