
I also feel that Tufts narrative had a lot in common with Stephen Burroughs. They both participated in counterfeiting, horse thieving, bee-hive stealing, clothes stealing, jail burning. At one point, I started making notes in places that I speculated about the SB influence.
Lastly, I could not help but note that Tufts kept returning home to Lee (And frequently I wondered why he just didn't stay put). And in thinking about the Revolutionary time period, I wondered what the novel had to say about freedom and home. If we think about it, freedom and democratic law cannot co-exits. It is a paradox of sorts. Americans can not do as they please with total freedom. Once Tuft steals, he loses his freedom and is confined in jail. And Americans are not free to steal food as they please, they must work. In fact, I think Tufts worked harder getting out of jail than he would have worked if he lived an honest life. Anyway, back to my argument. Tufts narrative did show me what life in 18th century America was like. It was under martial law and the government was, in fact, mob-ruled. Citizens had to take the law into their own hands. Going 150 miles to retrieve a horse, etc. (Yet that sounded like it was perhaps a whopper to me, but nonetheless . . .), the fact remains that if a man wants his horse back, he has to leave his farm and go find Tufts; because chances are, Tufts is the one who stole it.
And by the way, I think that the men searching for Tufts (like Johnson) should have just set up a post in Lee; if they were patient, it was pretty much a give that as soon as Tufts broke jail, he was going home. Predictable enough to warrant some attention, yes?
2nd By the way: Rachel and Leah? Really??
Hi Lynda, Thanks for the post. Great comments and ideas. I think you are correct in everything you've stated about the differences between SB and HT, yet I can't say which I prefer. I do like HT's middle section, though I certainly agree that it is somewhat repetitive and lacks character development. I take this as a convention of the picaresque, which tends to be an episodic journey through multiple low-life experiences without a lot of development, or even transition. Also, I think the HT character is more the con man type than SB in that there is almost no personality behind the performance, that there is only performance to outline the figure--and not a lot of internal. I also like the outrages in the middle section, like the pulpit cushion. My daughter's name, by the way, is Leah, and a couple of days after she was born a former colleague--an older man easily irritated by life--paused in a hallway to tell me, "Well, you know that Leah was the ugly sister." I am sensitive to the use of the name, and to older colleagues. Great stuff to discuss. dw
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