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God, Gulliver, and Genocide: Barbarism and the European Imagination, 1492-1945, by Claude Rawson
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We are obsessed with "barbarians." They are the "not us," who don't speak our language, or "any language," whom we despise, fear, invade and kill; for whom we feel compassion, or admiration, and an intense sexual interest; whose innocence or vigor we aspire to, and who have an extraordinary influence on the comportment, and even modes of dress, of our civilized metropolitan lives; whom we often outdo in the barbarism we impute to them; and whose suspected resemblance to us haunts our introspections and imaginings. This book looks afresh at how we have confronted the idea of "barbarism," in ourselves and others, from the conquest of the Americas to the Nazi Holocaust, through the voices of many writers, including Montaigne, Swift and Shaw.
- Sales Rank: #541529 in Books
- Published on: 2001-08-02
- Original language: English
- Number of items: 1
- Dimensions: 8.40" h x 1.20" w x 5.60" l, 1.31 pounds
- Binding: Hardcover
- 440 pages
Review
"Rawson's excellent book analyses 'the spectrum of aggressions' that exists between such figurative use of the language of extermination and its actual fulfillment in historical genocides over the last six centuries."--The Guardian"
"[An] erudite, passionate book...learned, wide-ranging and acute.... [Rawson is] one of the finest 18th-century specialists, who...is also a critic of striking flair and delicacy."--Terry Eagleton, London Review of Books
"Never a scholar to be bound by conventions of periodization...Rawson has written a book of major importance for genres ranging from Renaissance encounter literature to modern Holocaust fiction. But his greatest gift has always been for torpedoing the prevailing assumptions of eighteenth-century studies, and in this bold new account of Swift, and the implications arising for other writers, he has done it, explosively, again."--The Times Literary Supplement
"[Rawson's] important new book...might at first blush seem to have certain similarity to...fashionable criticisms of Western values and actions, but it could not be more different from them in its freedom from ideological agendas, its refusal to cook the evidence, its ability to see moral nuance, and its steady sense of the complexity of historical causation. Rawson has long been one of our most illuminating authorities on eighteenth-century English satire and on Swift in particular; but in his new book he casts a much wider net, exhibiting the same meticulous erudition in his treatment of Montaigne and Wilde and Shaw as he does in his discussion of the English Augustan writers."--The New Republic
About the Author
Claude Rawson is Maynard Mack Professor of English, Yale University. His works include Henry Fielding and the Augustan Ideal Under Stress; Gulliver and the Gentle Reader: Studies in Swift and Our Time; Order from Confusion Sprung: Studies in Eighteenth-Century Literature from Swift to Cowper; The Collected Poems of Thomas Parnell, with F. P. Lock; Satire and Sentiment 1660-1830; and Cambridge History of Literary Criticism: Volume 4: The Eighteenth Century, with H. B. Nisbet.
Most helpful customer reviews
3 of 4 people found the following review helpful.
Stress Points in Rawson's Critical Study
By Wesley
In his critical work God, Gulliver, and Genocide, Claude Rawson examines what he terms "a series of stress points" in literature, mostly through the works of Jonathan Swift and Michel de Montaigne, which reflect the European imagination in dealings with the barbarous (1). Rawson offers a particularly thorough examination of Swift's Gulliver's Travels, but often in the context of Montaigne's work (and vice versa) which would make a reading of Rawson's text less fruitful unless the reader has done extensive reading of these two authors.
Some of the frameworks within which Rawson explore the European perspective of barbarism and savagery include Swift's use of alleged utopian societies, such as the Houyhnhnms. This discussion is paired with Montaigne's writing to create the distinction between how each other approaches the idea of savages -with the former dividing societies into "binary oppositions" and the latter offering a more generous spectrum (44-45).
Rawson also considers historical contexts, specifically Indians and the Irish. He includes commentary on many of Swift's shorter satires to remark on the continual themes of punishing the poor and cannibalism among the poor. He includes a selection of images (found in the section titled `Killing the poor: an Anglo-Irish theme?') in which readers can see the European imagination at work connecting savagery and barbarism to the body. These images reflect upon Rawson's section titled `The Savage with Hanging Breasts' and would perhaps have been more effective had they been placed closer to this part of the book.
There is an interesting focus on sexually charged "stress points" that Rawson points out with helpful references to the texts he discusses for a backdrop. I found his conclusions about Gulliver's encounter with the female Yahoo in the river particularly interesting having not yet considered Gulliver's comments about the girl to intimate such a social commentary (92-94). Rawson goes on to explore the autobiographical possibilities in this example and others, but does combat the biographical fallacy by pointing out parts of his discussion that are mere conjecture.
In the final section of his book, Rawson explores the religious aspects of barbarism and savagery. He examines "stress points" like the castration of the Yahoos (Swift) and the Indians' mutilation of priests (Montaigne) alongside depravity in the Bible, making the connection between religious (and religiously barbarous and savage) backgrounds in Europeans' imaginations that he finds present in the literature. One of the aspects I found most interesting and shocking in this section was the connection Rawson makes between Swift's use of castration and sterilization in the Nazi eugenics movement -which I was not expecting when picking up this book (288-90).
God, Gulliver, and Genocide offers an insightful lens for considering texts. His thorough commentary and research allow readers to understand the parallels and distinctions he draws between a wide variety of texts, although a former knowledge of Montaigne and Swift would definitely be beneficial for a reader.
0 of 0 people found the following review helpful.
Stress Points of the Text
By Sadie Jane
In his critical work God, Gulliver, and Genocide, Claude Rawson examines what he terms "a series of stress points" in literature, mostly through the works of Jonathan Swift and Michel de Montaigne, which reflect the European imagination in dealings with the barbarous (1). Rawson offers a particularly thorough examination of Swift's Gulliver's Travels, but often in the context of Montaigne's work (and vice versa) which would make a reading of Rawson's text less fruitful unless the reader has done extensive reading of these two authors.
Some of the frameworks within which Rawson explore the European perspective of barbarism and savagery include Swift's use of alleged utopian societies, such as the Houyhnhnms. This discussion is paired with Montaigne's writing to create the distinction between how each other approaches the idea of savages -with the former dividing societies into "binary oppositions" and the latter offering a more generous spectrum (44-45).
Rawson also considers historical contexts, specifically Indians and the Irish. He includes commentary on many of Swift's shorter satires to remark on the continual themes of punishing the poor and cannibalism among the poor. He includes a selection of images (found in the section titled `Killing the poor: an Anglo-Irish theme?') in which readers can see the European imagination at work connecting savagery and barbarism to the body. These images reflect upon Rawson's section titled `The Savage with Hanging Breasts' and would perhaps have been more effective had they been placed closer to this part of the book.
There is an interesting focus on sexually charged "stress points" that Rawson points out with helpful references to the texts he discusses for a backdrop. I found his conclusions about Gulliver's encounter with the female Yahoo in the river particularly interesting having not yet considered Gulliver's comments about the girl to intimate such a social commentary (92-94). Rawson goes on to explore the autobiographical possibilities in this example and others, but does combat the biographical fallacy by pointing out parts of his discussion that are mere conjecture.
In the final section of his book, Rawson explores the religious aspects of barbarism and savagery. He examines "stress points" like the castration of the Yahoos (Swift) and the Indians' mutilation of priests (Montaigne) alongside depravity in the Bible, making the connection between religious (and religiously barbarous and savage) backgrounds in Europeans' imaginations that he finds present in the literature. One of the aspects I found most interesting and shocking in this section was the connection Rawson makes between Swift's use of castration and sterilization in the Nazi eugenics movement -which I was not expecting when picking up this book (288-90).
God, Gulliver, and Genocide offers an insightful lens for considering texts. His thorough commentary and research allow readers to understand the parallels and distinctions he draws between a wide variety of texts, although a former knowledge of Montaigne and Swift would definitely be beneficial for a reader.
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