The Evolution of Social Commentary in Ragtime
Ragtime can be a bit
confusing at first; it jumps back and forth between storylines, half of which
are about unnamed characters. Once the reader manages to get a grasp on the different
storylines, it becomes interesting to watch them overlap and become more
intertwined. However, at this point in the book, the beginning feels like a
completely different book because of the shift. The first half of the book
seems to be focused on the issues of class, juxtaposing the upper-class Henry Thaw with the immigrant life Houdini. Later, Doctorow seems
more focused on the racial aspects of Coalhouse’s storyline. This narrows on the racism Coalhouse faces despite his efforts to be an upstanding citizen, as well as his responses to continual discrimination.
Along the lines of criticism of
class differences, Houdini is placed in the same setting as Henry Thaw when he
is in prison while Houdini is performing an escape. In class, we talked a lot
about how Houdini became an icon for the lower class Americans, particularly
among immigrants. As an immigrant himself, he became the image for the idea American
dream, where he came to America to make a living for himself and worked hard
enough to make his dream a reality. Similarly, his work as an escape artist is
all about escaping bonds from places that seem impossible, which would have a
message of hope that would particularly resonate with the working class
immigrant population in America at the time. Across the hall from him, Thaw is in
prison, completely relaxed and content with life. Unlike the poor immigrants
who see their strife in Houdini’s magical escapes, Thaw, even when in the same
bondage, has his privilege to cushion his experience and feels comfortable in
the knowledge that said privilege means that he could get out at any time without
much of a struggle. This section somewhat comes to an end with the narratives
following Henry Ford and J.P. Morgan, who are undoubtedly both wealthy figures
who left an enormous impact on the state of capitalism in America. The
juxtapositions of the upper class characters, interacting with the lower class
characters is a subtle commentary on the class disparities from Doctorow. As
the book is set during the early 1900s, these social criticisms would have been
common at the time. As the state of capitalism
and industrialism in America grew, class disparities and discontent grew along
with it. During the turn of the century, many social activists (Jane Addams and
Jacob Riis are two names that come to mind from US History) called for change
to improve the lives of the working class immigrants.
However,
while Doctorow’s commentary and slight criticism of capitalism would fit within
both the time period of the setting as well as the time Ragtime was
published, his later commentary on racial issues definitely seem to belong more
in the sixties and seventies than the beginning of the century. As the novel
shifts for the narratives to focus more on the family and Coalhouse Walker, the
racial commentary becomes less something that could fit in around the turn of
the century and turns into something that would fit very well in the racial and
political climate of the late sixties and early seventies when the book was published.
The discrimination and profiling Coalhouse
experienced would definitely be something accurate of the time period in New
York, but his pride and reaction of violence is something greatly ahead of its’
time. The armed people who help him attacking the fire stations are reminiscent
of the militancy of the Black Panther movement.
Not only
does Doctorow flaunt his power as the writer in squeezing in information about
real historical characters that is not in the historical narrative, but he also
uses his power as a fictional writer to interweave themes and social commentary
from both time periods of the setting and publishing dates of the book. In the
beginning, he takes care to find pockets to insert information about the named
real characters so that it doesn’t contradict the historical record. With
Colehouse, he gives him an explicit name, despite being fictional, and also
makes a point to not make up too much information about Colehouse, purposefully
keeping the reader in the dark about what is going on inside his head.
Great post! I definitely can see the shift in social commentary you mention as we get into the section that is focused on Coalhouse. I also felt that the developments in this section of the story were a bit ahead of its time, but I hadn't thought of it as another way that Doctorow flaunts his position as the writer of the novel until I read your post.
ReplyDeleteI totally agree. The "theme" of the book now seems completely different then when we first started reading it. I had not thought about Doctorow using his power in this way until this post. I think it is really interesting that despite being fictional Coalhouse has a name and Doctorow does not claim to know anything about his life.
ReplyDeleteYou make a really good point with how Doctorow uses the first part of the novel to establish historical accuracy (to an extent) so that he can make it easier to add more fiction into the mix later on. Like, obviously he most likely made some stuff up regarding the historical characters (like what they say, how they think, etc.), but it still legitimizes the book to a certain extent, framing it as something that is close enough to matching reality that it basically is real. And like you say, he then introduces Coalhouse, a fictional character, into this legitimate-looking fictional world, giving us the sense that Coalhouse and what he's fighting for could have existed back then, despite being a very 60s-70s era idea. You put it very well in talking about how the two time periods fit closely together in terms of social issues.
ReplyDeleteYes! The book has been "transported" between eras, if that makes sense. At first, the story fit very well into the traditional "1900s class tension" paradigm with Tateh being socialist, rich capitalists flaunting wealth while underpaying workers, etc. But when the Coalhouse narrative got into full swing, the book switched focus to something much more 70's. It's especially interesting that it would have been easier for Doctorow to keep the focus on class, given the previously-existing Kohlhaas story was built entirely around class tension. But instead, Doctorow makes the very conscious decision to tell a story about race.
ReplyDeleteI totally agree with you. I wonder if the book could be considered a holistic criticism of what the early 1900s were like, given the way the book portrays issues with the capitalist society in the first half of the book and race issues in the second half of the book. While it is impossible to criticize every aspect of any given time, Doctorow does a good job of highlighting two of the most major issues of the time, using both fictional and and nonfictional characters.
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