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American Arabesque: Arabs and Islam in the Nineteenth Century Imaginary (America and the Long 19th Century), by Jacob Rama Berman

American Arabesque: Arabs and Islam in the Nineteenth Century Imaginary (America and the Long 19th Century), by Jacob Rama Berman



American Arabesque: Arabs and Islam in the Nineteenth Century Imaginary (America and the Long 19th Century), by Jacob Rama Berman

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American Arabesque: Arabs and Islam in the Nineteenth Century Imaginary (America and the Long 19th Century), by Jacob Rama Berman

American Arabesque examines representations of Arabs, Islam and the Near East in nineteenth-century American culture, arguing that these representations play a significant role in the development of American national identity over the century, revealing largely unexplored exchanges between these two cultural traditions that will alter how we understand them today.   Moving from the period of America’s engagement in the Barbary Wars through the Holy Land travel mania in the years of Jacksonian expansion and into the writings of romantics such as Edgar Allen Poe, the book argues that not only were Arabs and Muslims prominently featured in nineteenth-century literature, but that the differences writers established between figures such as Moors, Bedouins, Turks and Orientals provide proof of the transnational scope of domestic racial politics. Drawing on both English and Arabic language sources, Berman contends that the fluidity and instability of the term Arab as it appears in captivity narratives, travel narratives, imaginative literature, and ethnic literature simultaneously instantiate and undermine definitions of the American nation and American citizenship.

  • Sales Rank: #1672974 in Books
  • Brand: Brand: NYU Press
  • Published on: 2012-06-11
  • Released on: 2012-06-11
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .72" w x 6.00" l, .95 pounds
  • Binding: Paperback
  • 288 pages
Features
  • Used Book in Good Condition

Review

“American Arabesque is daringly ambitious.  As a work of scholarship, it ventures an extraordinary range of reference, involving old and new works in English and Arabic. As a challenge to think differently about the United States in a larger world, it ventures to name its perspective ‘dirty cosmopolitanism.’ It makes good on both these risks." -Jonathan Arac,author of Impure Worlds

"This book will prove useful to both historians and literary scholars....always stimulating and rewarding...it should inspire many new avenues of research."-Anna Suranyi,New England Quarterly

"American Arabesque succeeds on many levels, not the least of which is its forging of a method of transnational scholarship. Berman places importance on translation, not only in terms of linguistics but also in terms of cultural forms. The result is a nuanced read of densely overlapping cultural forms and ideas...This is an important scholarly intervention that is sure to push forward transnational scholarship."-Journal of American Studies

"Berman's work opens up extended vistas for consideration, and the central accomplishment of the book is immense: by reading Arabic-language texts from North Africa contrapuntally in relation to English-language texts, Berman points toward the possibility of reading nineteenth-century American literature through frames that are far more genuinely planetary and cosmopolitan that has yet been achieved.  Berman's study makes an important, indeed vital, contribution to the field of studies of American Orientalism and of Orientalism in Poe's work specifically."-Poe Studies

About the Author
Jacob Rama Berman is Assistant Professor of English Literature and Comparative Literature at Louisiana State University.

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0 of 0 people found the following review helpful.
American Arabesque
By Zachary W. Schulz
Within American Arabesque: Arabs, Islam, and the 19th-Century Imaginary, LSU English professor Jacob Rama Berman argues that “Arabo-Islamic figures [are] woven into the very fabric of American culture.” (pg. x) For example, he asserts that late eighteenth- and early nineteenth-century captivity narratives provided a new genre of American literature that both the former captives and readers used to explore their national identity. In another noteworthy chapter, he holds that prominent black activists such as Drew Ali, W.E.B. DuBois, and Claude McKay seized upon images of the Moor to explore blackness alongside American national identity.

In the first chapter, analyzing James L. Cathcart’s Barbary captivity narrative and his later writings while a government official in Louisiana, Berman posits that one can trace the evolution of the rhetoric surrounding the term “patriotism” and, subsequently, United States’ national character. He holds that Cathcart, seeking to maintain his American identity in captivity, embraced the Enlightenment ideals of patriotism during the American Revolution (freedom, democracy, and equality) as an anchor. (p. 50) Yet, Berman suggests this Revolutionary construct of patriotism declined as Cathcart aged and later contributed to the new American imperialism exhibited during the Federal period and the new Louisiana territory. Seemingly, Cathcart’s writings capture his conflicted national identity: that of the one established during his captivity against a local identity grown during his employment in Louisiana that actively sought to increase production in formerly held French lands and contradicted the noble ideals of equality that had maintained him in Algiers. Thus, this conflict seen in Cathcart’s writing provides for Berman one demonstration of the arabesque in American literature: the Arab provides a catalyst, for those who engage with Barbary captivity narratives, to establish national unity and belonging that reverberates into the Federal era and its growing imperialism.

Continuing his study of identity through Arabic lenses, Berman notes that, “Drew Ali, DuBois, and McKay all explored the possibility of fusing America and Africa through figures of the Moor and/or Morocco.” (p. 178) Hence, though these men all arrived at different conclusions regarding blackness and the place for African Americans in United States’ society, they employed the Moor as a means of critiquing ethnicity and belonging within the cultural diaspora of the United States. For example, Berman asserts that, “Drew Ali used Moorish identity to create an imaginative geography that wedded African American identity with both African ancestry and Arabo-Islamic culture,” distinctly different from Judeo-Christian Euro-American identity structures stereotypical to U.S. national character. (p. 178) Contrarily, both DuBois and McKay employed images of the Moor “to explore interethnic relations” in the U.S. while simultaneously seeking to find a common African past that reconciled with American ideals. (p. 178) Therefore, Berman demonstrates the Arab was once more crucially employed in American culture, whether embracing Islamic origins or using the Moor as a keystone to individualizing an African-American identity.

Berman’s monograph does convincingly suggest that American culture has employed Arab constructs as a vital means of understanding society, ethnicity, and identity. However, his book suffers from sometimes dense, seemingly unconnected chapters with unequal emphasis given throughout. Chapters one and four prove the most convincing and articulated, as noted in this review. However, chapter three’s conclusions on Edgar Allen Poe seem tentative and chapter five’s short length is a disservice to the longer, earlier chapters. Chapter two, seemingly, is a caveated continuation of the previous chapter’s lengthy argument. Nonetheless, Berman successfully demonstrates the frequency Arabo-Islamic tropes occur in American literature provide another means to understanding United States’ society. Consequently, this work contributes to the ongoing discussion of identity formation within the multicultural United States.

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