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“THE GHOST OF SLAVERY” IN OUR MUTUAL FRIEND

Published online by Cambridge University Press:  29 May 2015

Alexandra Neel
Alexandra Neel*
Affiliation:
Loyola Marymount University
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Extract

On his last trip to America in 1868, Charles Dickens would write a letter to his friend and biographer John Forster, which paints a sobering picture of postbellum Baltimore: “It is remarkable to see how the Ghost of Slavery haunts the town; and how the shambling, untidy, evasive, and postponing Irrepressible proceeds about his free work, going round and round it, instead of at it.” While Dickens's phrase “the Ghost of Slavery” indicts a slave system that persists despite abolition, his representation of the former slave body – “the shambling, untidy, evasive, and postponing Irrepressible” – suggests another kind of ghost, an identity that toggles between the spectral and the grossly embodied. Dickens reinforces this conjunction of the ghostly and the corporeal as he goes on to note that “[t]he melancholy absurdity of giving these people votes, at any rate at present, would glare at one out of every roll of their eyes, chuckle in their mouths, and bump in their heads, if one did not see . . . that their enfranchisement is a mere party trick to get votes” (Letters 27). Resorting to the crudest racial stereotypes, Dickens portrays recently manumitted slaves as dolls devoid of speech and political agency. In depicting the “postponing Irrepressible” as stripped of personhood and civil capacities, Dickens conjures the legal fiction of “civil death” – a medieval English common law that divested a prisoner accused of treason any rights by proclaiming him dead in the eyes of the law. In stark contrast to Dickens's impassioned pleas for the abolition of slavery and prison reform in American Notes (1842), his private remarks in this letter some twenty-five years later convert former slaves into the objects of satire – minstrelsy puppets in a larger political game in which they play no civil part – as it were, dead again. However, even as Dickens attempts to constrain the former slave body through a kind of stereotypical branding, his language – the “postponing Irrepressible” – registers an unease that this corporeal ghost won't die. It is precisely in this form of the living dead that the “ghost of slavery” surfaces in Our Mutual Friend (OMF).

Type
Research Article
Information
Victorian Literature and Culture , Volume 43 , Issue 3 , September 2015 , pp. 511 - 532
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Copyright
Copyright © Cambridge University Press 2015 

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