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'Thunders of White Silence': Racialized Ways of Seeing and 'Hiram Powers' Greek Slave'
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'Thunders of White Silence': Racialized Ways of Seeing and 'Hiram Powers' Greek Slave'
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Journal Article
'Thunders of White Silence': Racialized Ways of Seeing and 'Hiram Powers' Greek Slave'
2022
Overview
[...]as students of Victorian studies are increasingly challenging disciplinary traditions of refusing to \"see\" race, perhaps especially where poetry is concerned,1 visuality's relations to poetics seem poised to emerge as invaluable resources for moving beyond long-standing, if often tacit, training in evasive, exclusionary reading.2 Here, in turning towards those relations, I'll be tracing a sharp, idiosyncratic line through an increasingly rich, expansive constellation of critical and poetic writings and disciplinary fields.3 \"What is 'Victorian poetry'? By 1964, the art historian Jerrold Ziff could already refer to it as showcasing \"perhaps Turner's most famous (or infamous?) lines of poetry\" (p. 341); in 2020, Laura Brace, a specialist in history, politics, and international diplomatic relations, was still setting Turner's verse, astutely analyzed, at the center of an ambitious revisiting of interdisciplinary controversies around Turner's painting.9 The pattern is an old one: repeatedly, scholars in other fields, not least art history, have led the way in addressing questions of race and enslavement in Victorian poetry. \"Slave\"; \"slavery\": as both Victorian and post-Victorian histories attest, these and similar words' abstraction has long served as a means of displacing or denying the irreducibly individual, material human horrors of enslavement.13 Where-as whom and with whom-might we conceive the challenges of \"seeing\" material relations between Powers's art and EBB's poem? Among art historians, in contrast, it seems more likely to provoke another: \"Which one?\" After all, as such specialists like to underscore, by the late 1860s, to invoke \"Hiram Powers's Greek Slave\" could be to name any one of six distinct marble figures.14 What is more, in an age of mechanical reproduction, marble was only the beginning.
