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DOCTOROW'S "RAGTIME"
Author(s): STEPHEN HARRIS
Source: Australasian Journal of American Studies, Vol. 20, No. 2 (December 2001), pp. 47-61
Published by: Australia New Zealand American Studies Association
Stable URL: http://www.jstor.org/stable/41053867
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AUSTRALASIAN JOURNAL OF AMERICAN STUDIES 47
STEPHEN HARRIS
You are whatever you dare to think you are. And to be free to think
you 're something you yre not (not yet) t something better than what
you are - isn 't that the true freedom promised by this country to
which he was journeying?
(Susan Sontag, In America).
Contemplating his imminent departure from Poland, with its long and
compromising 'genealogies of concern and obligation', this central character
in Susan Sontag's recent historical novel gives expression to the now-hackneye
dream of the New World. Looking westward, he conveys a longing for the
promise of imaginative self-renewal - in effect at once a yearning fo
regenerative innocence and a fantasy of romanticised self-perfection - a promise
that coincides with the idea of America as a place of 'newness, emptines
pastlessness' where the individual can turn 'life into pure future'.1 That Ryszar
communicates his feelings in the ambiguous form of a rhetorical question (pu
to himself in the third person) is worth noting for, in what is also a now-familiar
story, what he and his fellow emigres inevitably discover is that the idea of self-
renewal is, in practical terms, a far more difficult proposition. Sontag's novel
more complex than this suggests, and is noteworthy for what appears to be he
revaluation of the symbolic significance of 'America' - the 'old' New World
that Sontag portrays in contrast to the contemporary United States.2 In restating
what arguably remains the central American idea - that of the potential fo
untrammelled self-transformation - within the form of an historical novel th
looks back to an 'America' of the past, Sontag's text serves as a fittin
introduction to E. L. Doctorow's historical novel Ragtime, a novel which offer
a more explicit critique of this very same idea.3
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48 AUSTRALASIAN JOURNAL OF AMERICAN STUDIES
In line with these more recent views, it should be said that, while Doctorow is
fully aware of the complex problem of self in the modern age (his novels Loon
Lake and The Book of Daniel being notable for their experiments with
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AUSTRALASIAN JOURNAL OF AMERICAN STUDIES 49
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50 AUSTRALASIAN JOURNAL OF AMERICAN STUDIES
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AUSTRALASIAN JOURNAL OF AMERICAN STUDIES 5 1
The interlopers are vectors of a larger truth about the national history that the
WASP family, to this point sequestered in their bourgeois world, has been able
to ignore. Similarly, Emma Goldman encounters Evelyn Nesbit, the embodiment
of what she sees as the corrupt system that is capitalism. The anarchist explains
the unlikely encounter in fatalistic terms: 'You came because in such ways as
the universe works, your life was destined to interact with my own . . . there are
correspondences, you see, our lives correspond, our spirits touch each other
like notes in harmony, and in the total human fate we are sisters' (pp.49, 52). In
fact, Goldman touches on the metaphysics of the theme when she asks, 'Which
of us causes, and lives in others to cause, and which of us is meant thereby to
live'. Here, the emphasis is placed on the broader dimensions that encompass
and yet impinge on an individual life; within the novel, we can think of this in
terms of the ways in which characters are thoroughly formed within the
conditioning realm of history. As I will demonstrate, the question is politically
critical: to what extent is the action of self, of one's very being (as it were),
causally bound up or interanimated with others?
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52 AUSTRALASIAN JOURNAL OF AMERICAN STUDIES
His death, occurring as it does on the route between the New and Old Worlds,
associates this scene with the promise of 'America', with the prospect of the
ultimate achievement of Selfhood in the New World. Other characters within
the novel, such as Henry Ford and particularly Pierpont Morgan, live to personify
this summit of self-realisation. This, in turn, directs us to a broader view of
Doctorow's critique of the American concept of self, for the American ideal of
the individual reaching the apogee of self-realisation in America has a direct
impact on the American understanding and experience of history. As Doctorow's
ironic pairing of these modern day 'great men' of history illustrates, not only do
such powerful individuals reduce history to a process simply confirming their
own notions of superiority, but more dangerously, these 'otherworldly', if not
transcendent models of selfhood become the false representations of historical
agency and causality, of change and destiny. As representative figures, they
encourage a distorted view of the interrelation between the individual and the
historical and social world. And as putatively heroic figures - champions of the
capitalist contest - they skew the understanding of history towards self-serving
myth through representing a depoliticised and hence deceiving model of
individual 'success'.
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AUSTRALASIAN JOURNAL OF AMERICAN STUDIES 53
The little boy had followed the magician to the street and now
stood at the front of the Pope-Toledo gazing at the distorted
macrocephalic image of himself in the shiny brass fitting of the
headlight. Houdini. . . leaned over the side door. Goodbye, Sonny,
he said holding out his hand. Warn the Duke, the little boy said.
Then he ran off. (p. 9)
Close to the end of the novel, Houdini, inverted, hangs over Broadway, 'the
year was 1914, and the Archduke Franz Ferdinand was reported to have been
assassinated. It was at this moment that an image composed itself in Houdini 's
mind. The image was of a small boy looking at himself in the shiny brass
headlamp of an automobile' (p. 267). Not incidentally, this correspondence hinges
on an image - firstly, the boy's apprehension of his own image, inverted in
reflection, and later, with the magician's memory of the boy gazing at that
same reflected self. This interlinking then acts as a type of narrative frame. The
entire 'connection' is of course fiction; and yet, despite this arrant implausibility,
it appears to be proposing some link between different levels of experience -
between the historical world and that vast world of unhistorical people and
events.
The closer one looks at Ragtime, the more elaborate the network of connections
and parallels. To no more than allude to this, a considerable study could be
made of the associative links between references to photography, theatrical
imagery and the incidence of reflection in the novel. More pertinently for the
purposes of my argument, Houdini, the talented immigrant, personifies the
individualistic self-made man; indeed, he is described as embodying an American
ideal (p. 27). Famed for escapology, he actually yearns to escape his own
elaborate theatre of illusion: his is a struggle to enter the real world of historical
achievements in the belief that he will attain a greater measure of selfhood. As
he observes of Peary's exploits,
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54 AUSTRALASIAN JOURNAL OF AMERICAN STUDIES
Before the character Morgan, what we cannot overlook here is the process of
'transformation" undertaken by the Little Boy, one which contrasts with that of
the great magician. To be brief, the boy discovers the mirror as a means of 'self-
duplication' (p. 98). By the most preliminary of expositions, what the boy
apprehends is the dispersal of self through the multiplication of images; 'he
was,' he notes, 'no longer anything exact as a person' (p. 98). While in the
simple dramatic sense the boy could not be said to be a prominent figure in the
narrative, the fact that we are led, by inference, to believe that the Little Boy is
the narrator's younger self, allows us to place the act of perception at the very
heart of the novel. From this experience the boy concludes that 'the world
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AUSTRALASIAN JOURNAL OF AMERICAN STUDIES 55
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AUSTRALASIAN JOURNAL OF AMERICAN STUDIES 59
ENDNOTES
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