Recluse Deuces: Salinger and Pynchon, Two Modern Literary Outliers, Part II – TR Pynchon Jr

Posted on by E Curb Nottus
Biographical, Comparative politics, Creative Writing, Literary & Linguistics, Politics, Popular Culture

The second in our brace of reclusive authors of American fiction is Thomas Pynchon (see preceding blog on his the similarly publicity-shy JD Salinger). Long Island-born Pynchon came to the full-time vocation of fiction-writing via short stints in the navy and for Boeing as a technical aide. By the time Pynchon writes his first novel, V. in 1963, he is domiciled in México City, and the persona of Pynchon as an “Invisible Man of Letters” has already started to take root. 

PYNCHON

If there were slim pickings for inquisitive fans of JD Salinger wanting more biographical information about their ‘fave’ reclusive writer, then comparatively there’s an absolute famine when it comes to the lack of ‘goss’ on Thomas Ruggles Pynchon! Pynchon has managed to weave an airtight web of mystery around his personal life – no interviews, no attendance of literary prize awards, no memoirs, no hobnobbing with fellow celebrities at ‘A’ list gatherings, no teaching post in academia. In Pynchon’s (loosely) historically-based novel Mason & Dixon one of the characters is castigated for “the least tolerable of Offences … the Crime they styl’d ‘Anonymity’” – the very state of existence that Pynchon craves. The reclusive and ubër-private New Yorker differs from the equally reclusive Salinger in not having had to suffer the ignominy of family ‘betrayal’ as Salinger was subjected to. Pynchon’s family (agent/wife, son, brother and sister) and friends have all closed ranks, drawing down the cone of silence on the subject of the famous recluse＊.

‘Mason & Dixon’

Pynchon very much belongs to the “why make it simple, when you can make it complicated” school of literary communication. His books, popularly subsumed under the labels ‘postmodern’ and metafiction are typically characterised by over-elaborate and often open-ended plots, dense and hard to follow, labyrinthine sentences (Mason & Dixon meanders a full 122 words before it reaches its first full stop on page 2!) Pynchon offers up a mixed grill of cultural references to sex, drug culture, science and tech stuff, historical info and comic-book fantasy (with a raft of quirky and zany characters), etc. Beginning with The Crying of Lot 49 (1966), the first of Pynchon’s “Californian trilogy” novels, the author turns a critical eye on the counterculture…although Pynchon evinces a consonance with its core values and communitarian ideals he voices a concern that the American counterculture may be an accessory of the dominant culture rather than a genuine reaction to it [‘American Modernity and Counterculture’, (The Crying of Lot 49 by Thomas Pynchon), www.litcharts .org]. In ‘Lot 49’ protagonist Oedipa Maas accidentally stumbles into Trystero, a shadowy world of convoluted conspiracies, unearthing a centuries-old conflict between rival mail distribution companies.

Political Pynchon?
A central motif that comes through in Pynchon’s novels is a distrust bordering on paranoia of government agencies and private corporations. In Gravity’s Rainbow he expresses deep suspicions about the motives of the military/industrial complex. But Pynchon seems also to distrust the established political left in its empirical authoritarian form. Instead, his natural orientation and sympathies seem to be towards the anarchists and the preterites (ie, those controlled by the elite). One scholar notes that anarchists or allusions to them are present in all of the Pynchon books … anarchism, Pynchon seems to suggest, might be the best non-authoritarian and non-hierarchical social configuration for the future [‘Riding the Interface: An Anarchist Reading of Gravity’s Rainbow’, (Graham Benton), www.pynchonnotes.openlibhums.org]. Politics also run through Pynchon’s next, Vineland (1990), a novel which some dismissively dispatched as “Pynchon-Lite”. Vineland is an absurdist fable— punctuated with numerous references to drugs, 1960s music and TV pop culture, especially Star Wars—through which Pynchon provides a commentary on several key issues of the Eighties (the culture war debates, reading, television and mass communications). Set against the backdrop of the Republican Party’s re-election in 1984, Pynchon also takes a hefty swipe at American politics in the age of Reaganomics with a warning to America about “encroaching fascism” [Meinel, Tobias. “A Deculturated Pynchon? Thomas Pynchon’s “Vineland” and Reading in the Age of Television.” Amerikastudien / American Studies 58, no. 3 (2013): 451-64. Accessed November 26, 2020. http://www.jstor.org/stable/43485900].

❝ Then again, it’s the whole Reagan program, isn’t it—dismantle the New Deal, reverse the effects of World War II, restore fascism at home and around the world, flee into the past, can’t you feel it, all the dangerous childish stupidity—I don’t like the way it came out … someday, with the right man in the White House, there will be a Department of Jesus.❞

~ Thomas Pynchon, Vineland

Guesting on ‘The Simpsons’

While resolutely keeping his guard up Pynchon maintains control of his world by choosing when and what of himself he gives up to the world at large. Famously Pynchon has appeared (in animated form) on two episodes of The Simpsons (a clear sign that the couch-surfing literary hermit is up on mainstream pop culture※), having dictated the terms of his guest spot. Obviously the idea of the Simpsons gig tickled his humerus wildly, as he is shown(sic) wearing a paper bag on his head and gets to say that he loves Marge Simpson’s book “almost as much as he loves cameras”.

Navy Tom

The “no selfies” author  
Tom Pynchon has been incredibly successful over many decades—especially living in a metropolis of over eight million people—in scrupulously avoiding the lenses of the ubiquitous paparazzi. Until fairly recently there was virtually no new photos of the reclusive writer floating round⍟. Media outlets when running a story on Pynchon almost invariably fall back on the one or two photos taken during his navy days (when Pynchon was aged around 19 or 20!). Pynchon’s legendary antipathy to having his photo taken has been explained away as  self-consciousness about his protruding buck teeth (something that a sequence of sessions in the dentist’s chair early on could surely have fixed). Whether this explanation holds water or not is of course, like everything else, a topic Pynchon is deafeningly silent on. On the issue of Pynchon hermetically sealing himself off from the world, a more plausible speculation is that it may be a reflection of Pynchon’s disapproval of the modern trend of writers embracing, even rejoicing, in the role of being celebrities, eg, Norman Mailer and Truman Capote et al [‘Thomas Pynchon Returns to New York, Where He’s Always Been’, (J.K. Trotter), The Atlantic, 17-Jun-2013, www.theatlantic.com].

A method in the madness?  
The lengths Pynchon will go to avoid being photographed have a paranoia-like tinge to them, and some are legendary. Once in México during the Early Sixties V. period, when surprised by a random photographer, Pynchon apparently jumped straight out of his apartment window to escape being snapped [‘Hiding in Plain Sight: On the unobservable Thomas Pynchon’, (Alex Gilvarry), Topic, Issue No. 04, October 2027, www.topic.com]. The failure to pin down the identity of a famous but reclusive novelist contributes to the creation of myths … the enigma of an “invisible literary man” exudes more intrigue. Pynchon would understand that having a mystique about him, another layer of interest for his ‘gonzo’ fan base to engage with, would have a bonus marketable spin-off for the author’s sales [‘Meet Your Neighbor, Thomas Pynchon’, (Nancy Jo Sales), New York, 27-Jun-2008, www.nymag.com].

Zoyd, Frenesi, Prairie, etc

Pynchon Inc personnel: the ministry of silly names  
Pynchon novels are typically peopled by a vast array of (usually odd) characters. In Gravity’s Rainbow, Pychon rolls out no fewer than 400 named characters in 760 pages (most with fleeting walk-on, walk-off parts). Pynchon also revels in preposterous nomenclature, inventing lots of outrageous puns like Joaquin Stick, Benny Profane and the Marquis de Sod (a Californian lawn-care specialist!), and an inexhaustible supply of downright silly names – including McClintic Sphere, Tyrone Slothrop, Rachel Owlglass, Weed Atman, Yashmeen Halfcourt, Mike Fallopian, Scarsdale Vipe, Doc Sportello, Rev. Wicks Cherrycoke and Pig Bodine. Needless to say from the jokey nature of this Pynchon nomen-sampler that fleshing out a character’s multi-layered depths is not really the New Yorker’s bag [‘Gravity’s Rainbow’, Wikipedia, http://en.m.wikipedia.org].

An orgy of exegesis: Conspiracy la-la land
As someone with a lofty literary profile in the US and beyond (regularly scores a mention in the mix of annual Nobel Prize contenders), the utter paucity of biographical information on Pynchon has given rise to some pretty wild speculation about who he really is? Outré theories abound on the internet about the novelist’s identity, one of the most persistent is that Thomas Pynchon is really JD Salinger! Presumably the germ of this notion was the commonalities between the two, both perceived as hermits with a pathological allergy to attention, and each shared a fierce insistence on their personal privacy. But what gave added weight to the imaginative coupling in people’s minds was Salinger’s early removal from the public gaze and the supposed drying up of his literary output as evidenced by the complete cessation of his published work post-1965. This baseless ‘theory’ holds that Salinger invented “Thomas Pynchon” as an “elaborate authorial personality” to hide behind (Trotter). Even more ludicrous was the allegation that Pynchon was in fact the Unabomber! Another speculation has him as an airline pilot in real life (motivated by Howard Hughes adulation perhaps?). Other theories, rather predictably, conclude that Pynchon has to be a drug smuggler or a CIA agent (“its all there in the stories!”) [‘Authors reveal their Thomas Pynchon conspiracy theories’, Bookish, 03-Oct-2013, www.usatoday.com]. And so it goes, with more and even crazier notions. There’s something very apt that so many loopy conspiracy theories circulate about the identity of an author whose fiction is littered with accounts of loopy conspiracy theories✫.

Footnote: Lost in Pynchon  
Given my own often bewildered reaction to much of the fiction of Pynchon, and the palpable frustration that I see exhibited by others seeking despairingly to decode Tom Pynchon’s idiosyncratically personal brand of hieroglyphics◪, I often wonder why so many of us punters keep making the self-flagellating effort…I’m reminded of the cynic’s definition of a classic book, “something that everyone wants to have read but nobody wants to read” (Mark Twain, who else?). Echoing this is one critic’s pithy summation of Gravity’s Rainbow, Pynchon’s most praised book, as the “least-read-must-read” book in American history (Sales). For the marginalised multitude denied enlightenment there is some comfort in mockery. The title of the 2009 “Po-Mo” take on TRP’s ‘gumshoe’ novel, Inherent Vice⍉, offers a pyrrhic get-square (‘Incoherent Vice’) [‘Incoherent Vice’, (Sam Anderson), New York, 31-Jul-2009, www.nymag.com]. 

PostScript: Absurdist and Fabulist?
Pynchon is a black belt when it comes to telling the “shaggy-dog” story. Early critics described his novels V. and Gravity’s Rainbow as “high-caliber shaggy dog stories, full of digressions and possibly pointless details converging to a climax that revolves little” [‘Thomas Pynchon: A Primer’, (Jack Joslin), 25-Apr-2012, www.litreactor.com]. This description also applies to the later Mason & Dixon, a long rambling tale full of rollicking in taverns and absurdly inconsequential humour. Pynchon concocts a mixture of fact and fiction, the actual historical personages of Mason and Dixon blended into the “obvious lies, rumours and outright fantasies of their travels” while surveying the boundaries of colonial North America [Thomas Pynchon: Novels & Concept.” Study.com, 25 June 2013, study.com/academy/lesson/thomas-pynchon-novels-lesson-quiz.html]. This shaggy dog, picturesque style of Pynchon brings to mind Laurence Sterne’s Tristram Shandy, but more contemporaneously it reminds me of Peter Carey (especially Illywhacker) and John Barth (The Sot-Weed Factor, Giles Goat-Boy) who both write in a Fabulist/Magic Realism vein.

＊ the scarcity of biographical material on Pynchon doesn’t stop the “Pynchon-curious” from trawling through the texts to turn up whatever “auto-fiction” they can find…the protagonist of V., Benny Profane, “a schlemihi and human yo-yo” is ex-navy, just like his creator

※ Pynchon, and for that matter, JD Salinger in his time, would undoubtedly have no trouble writing a treatise on daytime television had either wished to do so

 ⍟ even the photos supposed taken of the septuagenarian/octogenarian Pynchon out shopping can’t be confirmed as being genuinely of him

✫ Pynchon once famously said “every weirdo in the world is on my wavelength” 

◪ one reviewer likened Pynchon’s cryptic first novel V. to a Hieronymus Bosch triptych  

⍉  thus far the only Thomas Pynchon novel to make it to the silver screen

Recluse Deuces: Salinger and Pynchon, Two Modern Literary Outliers, Part I – JD Salinger

Posted on by E Curb Nottus
Biographical, Creative Writing, Literary & Linguistics, Popular Culture

In the contemporary world of fiction-writing and publishing, maximising one’s media exposure in such a highly competitive market is considered essential for commercial success in the industry. A regime of TV talk shows, book tour circuits, getting your face out there, meeting and greeting the fans, is what authors do, its their bread and butter.

Two American novelists whose careers have followed an altogether different trajectory are JD Salinger and Thomas Ruggles Pynchon Junior. As modern writers of fiction, what Salinger and Pynchon have in common are a seemingly reclusive nature, or at the very least a pronounced aversion to publicity, or if you prefer to look at the obverse side, a fanatical even pathological commitment to guarding one’s own privacy from prying eyes.

SALINGER

❛What really knocks me out is a book that, when you’re all done reading it, you wish the author that wrote it was a terrific friend of yours and you could call him up on the phone whenever you felt like it.❜※

~ JD Salinger, Catcher in the Rye

 ꧁꧂  ꧁꧂  ꧁꧂

The ‘Catcher’: the unbearable heaviness of fame
JD (Jerome David, but went by the name of Jerry) Salinger had a remarkably slim output for a literary career that spanned over half a century. Between 1965 and his death in 2010 Salinger published nothing at all, although he continued to write in this time, prolifically it seems⚀. 1951 was the seminal year for Salinger with the dazzling success of his debut novel, Catcher in the Rye…the story of teenager Holden Caulfield struck a profound chord with American adolescence, articulating a sense of angst and alienation from adult (mainstream) society. The ensuing torrent of fame, the intense media and fan preoccupation with the book and in its author, drove Salinger to ground, relocating for good to a rural retreat in Cornish, New Hampshire.

Salinger, in the words of the New York Times, “elevating privacy to an art form”, bunkered down, refused interviews, and clammed up about his personal life and past – leaving the press and other interested parties to try to piece together the autobiographical parts of the novelist’s existence. Some observers have speculated that Salinger experienced some sort of identity crisis or nervous breakdown after ‘Catcher’, that triggered his publicity-shyness. As a result of Catcher in the Rye’s impact Salinger thereafter set a determined course to studiously avoid future publication, including no follow-up novel to capitalise on the success✧. Eventually a handful of shorter works were published, the most significance of which was his 1961 novella/short story collection Franny and Zooey (adventures of the Glass family). On the dust jacket of that book Salinger wrote, “a writer’s feelings of anonymity-obscurity are the second most valuable property on loan to him during his working years”… elsewhere he has spoken of “the joys of not publishing” [‘Salinger, Pynchon & Co.: When writers are recluses’, (Scott Timberg), LA Times, 02-Sep-2007, www.latimes.com].

Salinger troppo bizarro
While Salinger kept schtum over the years, striving vigilantly to fend off unwanted attention, others within the author’s family and associates provided personal insights to whet the biography-starved appetites of the public. Both Salinger’s former live-in lover Joyce Maynard (who at 18 shacked up with the 50-something literary recluse in the New Hampshire hideaway) and the author’s own daughter Margaret wrote their own “tell-all”, unfavourable memoirs of Salinger (eg, “a scowling martinet who drank his own urine and clung to outmoded racial stereotypes drawn from old Hollywood movies”)¤ [Robert Schnakenberg, Secret Lives of Great Authors, (2008)]. Margaret’s hatchet-job on Dad provoked a sibling feud as Salinger’s son Matt (an occasional actor) rushed to his defence dissing Margaret’s memoir, Dream Catcher, as mere “gothic tales of our supposed childhood” [‘The odd life of Catcher in the Rye author JD Salinger’, (Martin Chilton), Independent, 01-Jan-2019, www.independent.co.uk].

A young Salinger (photo: AP)

Catcher in the Rye has consistently charted as a best-seller✪, but its critical reception has been controversial and reviews mixed. Some critics of the novel, taking a highbrow view (Joan Didion, George Steiner) have deemed it too pessimistic in its message, too obscene, sincere admittedly, but nonetheless mawkish. Other readers, more low-key in their response, have wondered what all the fuss was about [‘J.D. Salinger’s Holden Caulfield, Aging Gracelessly’, (Jonathan Yardley), The Washington Post, 19-Oct-2004, www.washingtonpost.com]. The ever-acerbic Gore Vidal questioned whether “Salinger’s enigmatic exile lent his work a seriousness it didn’t deserve” (Chilton). Salinger biographers Shields and Salerno saw ‘Catcher’ less as a coming-of-age story than allegorically as a “disguised war novel”◘ [‘Book Introduction to Salinger’, American Masters, 24-Dec-2013, www.pbs.org/].

A manifesto for the criminally unhinged
A notorious side-effect of the public’s (or sections of it’s) infatuation with Catcher in the Rye is that it has been the motivational vade mecum of choice for some assassins (or would-be assassins) of celebrities. The novel had an inspirational role in the (separate) shootings of John Lennon and Ronald Reagan in the early 1980s. Mark David Chapman (who murdered Lennon) and John Hinckley Jr (who shot Reagan) both over-identified with Holden Caulfield to the point of being delusional and both were found to be in possession of a copy of ‘Catcher’ at the times of their crime.

PostScript: How reclusive are these literary hermits?
Salinger and Pynchon et al have been described as “recursively reclusive”, and this seems to be the majority opinion among fervent Salinger and Pynchon-watchers [‘The People Behind the Pen – T. Pynchon, J.D. Salinger and J.R.R. Tolkien’, Cision, 25-Sep-2015, www.prweb.com/]. But this view has been challenged – in Thomas Pynchon’s case, by himself! In 1997 Pynchon told CNN (by phone) that he believed that ‘recluse’ was “a code word generated by journalists … meaning, ‘doesn’t like to talk to reporters’” – the “media-shy recluse as an invention of the media” [“The endangered literary ‘recluse’”, (Brian Joseph Davis), The Globe and Mail, 07-Aug-2009, www.theglobeandmail.com]. But if Pynchon—dubbed by the US media as the “Invisible Man”—is a recluse and a hermit, he’s one who is hiding in plain sight, having lived for about 30 years in the same apartment (the precise address can be openly accessed by a simple online search) in the dense metropolis of New York City!

In regard to Salinger, Shields and Salerno contend that he was never actually a recluse – their evidence? While in Cornish, NH, he travelled, he had friends, family, relationships, he consumed the popular culture of his day, he expressed political opinions (not necessarily positive ones…Reagan was “the outgoing dummy” and George HW Bush was “the incoming dummy”)(Chilton). Another biographer, Paul Alexander, asserts that Salinger played up the role of loner, that he was originally quite a keen socialiser when he lived in NYC…and in “another life” in his youthful pre-literary career, ‘Jerry’ had been “entertainment director” for a cruise liner, making the fun happen for 1,500 passengers on MS Kungsholm! As has been noted, Salinger and Pynchon (and Harper Lee and others) are “not recluses in the true sense of the word … they simply have different ways of being public figures” (Davis).

※ Salinger’s words proved incredibly prescient in light of his own literary career

⚀ in 2019 Salinger’s son indicated that the family will release much of his father’s large body of unpublished work

✧  from the 1950s on Salinger also refused all offers to sell the film rights to ‘Catcher’, backing it up with a ready willingness to sue in any instance of unauthorised use of his creations

¤ other allegations of ‘oddball’ behaviour directed at Salinger include his practice of glossolalia, his use of an orgasmatron, his dabbling in Scientology (and Vedantaism) and embrace of extreme homeopathy (Schnakenberg)

✪ to date the novel has sold somewhere in the vicinity of 70 million copies worldwide

◘ Salinger was a WWII veteran (active in D-Day, Dachau), had PTSD; postwar he was “perpetually in search of a spiritual cure for his damaged psyche” (Shields & Salerno)

Brickfield Hill: From ‘Brickopolis‘ to Centre of a Sydney Retailing Dynasty

Posted on by Bonza Rottwheeler
Built Environment, Inter-ethnic relations, Local history, Retailing history

Sydney is chock full of locality names—names like Taverners Hill, Clifton Gardens, Pearces Corner, Tom Ugly’s Point, Russell Lea, Camp Cove, Tumble Down Dick, Bushrangers Hill, Brush Farm, Strawberry Hills, Charing Cross, etc—places on or off the map not big enough or important enough to warrant the status of ‘suburb’ in their own right.

‘Plan de la Ville de Sydney’ (Lesueur’s Map, 1802) (Source: State Library, NSW)

One of the earliest in the Sydney colony with an interesting back story is Brickfield Hill. Located on indigenous Gadigal country at the south end of the CBD, Brickfield Hill is a loosely-demarcated area❋ with a small hill, the place where the early colony’s clay was sourced for the making of bricks and tiles…bricks plus a hill, hence the name “Brickfield Hill”. This endeavour started virtually from year one of the European takeover of the Great South Land…the First Fleet in 1788 included  convicts with brick-making experience – James Bloodworth, the most significant of them was to prove invaluable to the embryonic settlement’s progress. With only makeshift accommodation in the form of canvas tents, the construction of more secure and permanent housing was of the highest priority. Bloodworth was immediately appointed master brick-maker for the Port Jackson colony by Governor Phillip, assigned labourers and tasked with the job of manufacturing 30,000 tiles per month [Ringer, Ron, Bricks, Dictionary of Sydney, 2008, http://dictionary of Sydney.org/entry/bricks, viewed 19 Nov 2020 ; ‘Brickfield Hill’, www.kathyprokhovik.com), 06-May-2018].

The public brickfield on the ‘Hill’ became such a hub of activity that in 1799 it was described as “a suburb of the town of Sydney … within a few yards of the main road” (George Street) [‘Bricks and Nails: Building Materials as Criteria for Dating in Sydney and Environs from 1788’, Robert Victor Johannes Varman, (Unpublished PhD thesis from the University of Sydney, Sept. 1993), www.ses.library.usyd.edu.au].

Brickfield Hill, George Street (Photo: JR Clarke / State Library, NSW)

By 1804 there were 72 houses within the village of Brickfield Hill, but it wasn’t the most salubrious part of Sydney to live…that part of George Street was “infamous for its steep, dangerous and dusty road” (Varman). The “exceedingly unpleasant” place, “covered by a filthy brown haze and choking dust storms of windy days” the southerlies that swept along the street were given the name the ‘Brickfielder’ [“Brickaholic’s tales behind the history of Sydney’s ‘golden mile’”, (John Huxley), Sydney Morning Herald, 26-Sep-2008, www.smh.com.au]. By 1840 the public brickfields had become a blot on the landscape…the dusty brick pits and polluting kilns were not conducive to the increasing residential composition of the village. Its dingy, seedy taverns were dens of crime and rampant practices of bestial cruelty. In 1841 the government ended the brick industry in the locality. In it’s place small brick-making concerns in private hands fanned out in directions south and west to suburbs such as Newtown, Camperdown, Pyrmont, Glebe and to St Peters which eventually emerged as the premier site for brick-making in Sydney. Merchant stores, warehouses and more housing (leading to slum conditions) helped fill the void in Brickfield Hill (Varman).

(Source: SL – NSW)

Gradient was a sizeable issue in Brickfield Hill in the early period … the steeply sloping terrain along that section of George Street impeded the transport of heavily-laden carts. During the 1830s the authorities finally addressed this. A colonial earth-moving project succeeded in reducing the gradient between Bathurst and Liverpool Streets to a more gradual and manageable slope [‘Brickfield Hill (1) – The Hill’, Sydney Eye, www.sydneyeye.blogspot.com/].

At the beginning of the 20th century Brickfield Hill achieved the kudos of an altogether different association as the new home of one of Sydney’s early retail giants. In 1905 Anthony Hordern and Sons opened its “Palace Emporium” on the site, their mega-department store rose up on the ‘Hill’ – six stories high and comprising 21 hectares of retail space. At its zenith Hordern’s Brickfield Hill emporium was reputedly the largest department store in the world. [‘Brickfield Hill’, Wikipedia, http://en.m.wikipedia.org].

In its post-department store life the Hordern building’s vast “rabbit-warren” network of rooms and corridors was home to the Business School of the NSW Institute of Technology until the 1980s. Acquired by Malaysian property developer Ipoh Garden Development in 1985, it was demolished the following year amid considerable controversy to make way for the World Square complex⍉ [‘Anthony Hordern & Sons’, www.wikiwand.com].

With the leveling of Hordern’s Palace Emporium building and the earlier closure of the Brickfield Hill post office, Brickfield Hill’s long existence as an identifiable locality in Sydney’s CBD was consigned to the past.

PostScript: The Hordern story
From humble beginnings as a King Street (Sydney) drapery shop in 1823, Hordern and Sons built up an Australian retail empire.  After a stint in Melbourne retailing, Anthony Hordern (Senior) built his first Sydney emporium in Chinatown (Haymarket). The AH showcase, opened in 1905 to replace the fire-destroyed Haymarket emporium, was the new Palace Emporium (AKA the “Senior Store”). The Brickfield Hill retail ”super-store“—with a main entrance of imported Italian marble—later diversified its commercial activities to include a branch of the Commonwealth Bank, tea rooms, a post and parcel office, rest rooms, public phone booths and a Thomas Cook travel agency. Expansion of the business occurred from the Fifties with new Hordern & Sons stores opening in Canberra, Wollongong, West Ryde and Mid-City Pitt Street.  By the late 1960s Anthony Hordern & Sons was massively losing business to suburban malls and to city competitors…it’s retail empire crumbling, the Brickfield Hill flagship was acquired by Waltons Ltd. In early 1973 the doors of the iconic retailer, once lauded as a “colossal business premises”, closed for good. (Wikiwand entry).

🔽 (Caroline Simpson Library & Research Collection. Sydney Living Museums. [TC 658.871 HOR/54]) 

____________________________________________

❋ roughly covering the area from Sydney Town Hall (Bathurst Street) to Central Station, skirting the present-day locales and suburbs of Haymarket and Surry Hills

⍉ which then stayed as a gigantic hole In the ground for 18 years until World Square was completed in 2004

⊰⊱⊰⊱⊰⊱

Transient Small ‘e’ empires in the Americas: The Méxican Experiment 2

Posted on by E Curb Nottus
Biographical, Regional History

Forty years on from the Emperor Agustín episode (see preceding post), México experienced a brief imperial phase for the second time. The Second Méxican empire differed from the first in being the creation of an externally-imposed political intervention. Born out of the ambitions, dreams and adventurist tendencies of the French emperor Napoleon III, the foreign intervention resulted in a hand-picked member of the Austro-Hungarian Habsburg dynasty being elevated to a “prefabricated throne” in México [Hanna, Kathryn Abbey. “The Roles of the South in the French Intervention in Mexico.” The Journal of Southern History 20, no. 1 (1954): 3-21. Accessed November 17, 2020. doi:10.2307/2954576.].

The trigger that set off the chain of events which resulted in an otherwise undistinguished Austrian archduke sitting atop a empire in faraway México was a economic crisis plaguing the Second Méxican republic in 1861. The Juarez government owed huge sums of money to foreign creditors—in particularly to France but also to other European states—which it was either unable or unwilling to repay, eventually the regime reneged on its debts. France’s Napoleon III entered into a conspiracy with México’s rich landowning class, to subvert the Juarez regime. With back-up from Britain and Spain (also creditors of the regime), the French landed a force at the port of Veracruz and demanded that Méxican government meet its financial obligations to Europe. After an initial military setback in the Battle of Puebla※, the French army eventually captured México City. The French military intervention further inflamed a civil war already in train between the conservative and liberal forces of México [‘The Emperor Maximilian arrives in Mexico City’, (Richard Cavendish), History Today, 06-Jun-2014, www.historytoday.com].

Napoleon’s empire of opportunism
Napoleon’s foray into México was not just about the recovery of international debts, some historians contend that it had a longer strategic intent, a grandiose plan to fuel the emperor’s imperialistic designs, known as la Grande Pensée (lit: “the big thought”). Having established a protectorate over the country Napoleon’s immediate objective was to create a buffer against US expansionism, which he thought could be realised by turning México into a pliant imperial ally…amounting to the creation of “a new order” in the region , one to Napoleon’s liking. This view purports that the French emperor sought to forge a “Latin, Catholic bloc” to counter any likely further US encroachment on the central and southern parts of the continent (see more on this in Footnote)◇ [Michele Cunningham, ‘México and the Foreign Policy of Napoleon III’, (Unpublished PhD thesis, University of Adelaide, December 1996]. The timing had been right, all of America’s energies were directed towards the civil war renting the union asunder, preventing Washington from taking a robust response to the European incursion in its sphere of influence⌽.

Emperor Maximilian I

Maximilian’s reluctance to play an obliging puppet role
To head the imperial construct, Ferdinand Maximilian, younger brother of the Austro-Hungarian Emperor (Franz Josef) was chosen. Maximilian was initially loathe to take on the job, he only did so after encouragement from his ambitious wife (Carlota) and after some deception on the part of the French (a phoney plebiscite was rigged to convey the impression that the Méxican people were willing to accept an Imperio Mexicano with Maximilian as emperor). Maximilian eventually warmed to the imperial role but he proved less amenable to the conservative program espoused by his backers than they had anticipated. Seeing himself as the protector of the peasantry, Maximilian endorsed wide-reaching reforms (including abolition of serfdom and child labour) and refused to restore the powerful Catholic Church to the privileged position it held prior to Juarez’s attack on its assets (Cavendish)⌑. The loss of Catholic hierarchy support didn’t help Maximilian’s prospects of surviving when things got tight politically for him in México later on.

Castillo de Chapultepec, Maximilian & Carlota’s official imperial residence, CDMX (Photo: www.mexicanroutes.com) ⍒


Confederate exile plan
Maximilian’s empire, even with its heavy reliance on French support, struggled to bend all of the internal opposition to its rule⦿. Maximilian and his French backers duly forged alliances with the American South, Confederate generals Magruder and Preston were appointed envoys to México City. The door to México was opened to Confederates…settler schemes, the brainchild of southern oceanography pioneer Matthew F Maury, were launched (New Virginia Colony/Carlota Colony) to encourage postwar migration (asylum) south of the border. Maury’s colonisation scheme was intended to bring 200,000 southerners to Méxican plantations with former slaves as ‘apprentices’, however the plan never really took off. México’s long-standing ban on slavery was a further disincentive for prospective Confederate settlers (Hanna).

French end-game
As things transpired Napoleon (and Maximilian) gambled on the wrong side in the American Civil War. The Union’s emergence from the civil war triumphant was lethal for French ambitions in México, Washington was now free to turn its attention to the foreign interloper. Invoking the Monroe Doctrine of Manifest Destiny, the US “hard-balled” France into removing its troops from México. Other urgencies closer to home were also a factor in Napoleon‘s exit from México – primarily the menace of a rising Prussia. The French departure also sealed the fate of the foreign emperor they had placed on the throne. In 1867 with dwindling support for the Méxican empire, Maximilian was comprehensively defeated by the republican forces, captured and like his monarchical Méxican predecessor Agustín I, executed by firing squad.



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Footnote: A rationale for French imperial reach into México and l’Amérique latine
At the time of Napoleon’s Méxican adventurism there was a widespread undercurrent of ”Pan-Latinism” in the air. The Napoleonic foreign policy that propelled France into the midst of an internal conflict in México has its rationale in the thinking of political economist of the day, Michel Chevalier. His influential ideas about Pan-Latinism struck a particular chord in France. Chevalier developed the idea that France (as leader of the Latin language countries) had a special hegemonic role to fulfil among les races Latines (the “Latin races”(sic)) vis-a-vís the Anglo-Saxon world. In the New World this manifested itself in the idea of France taking the lead in Hispanic America as a bulwark against the US expansionist juggernaut. Specifically, this meant France intervening in México to stabilise the unstable Méxican government—providing “a strong barrier on the Rio Grande to impede the march of Anglo-Saxonism”—and thus resisting Yankee territorial expansion which would undermine the solidarity of Catholic l’Amérique latine❂. And, as alluded to above, for Napoleon of course, the structure of empire was deemed the best framework to glue the various parts of the territorial entity together. A bonus incentive for France to establish a foothold in the Americas would be a chance to share in the continent’s vast riches◇[‘Pan-latinism, French intervention in México (1861-1867) and The Genesis of the idea of Latin America’, (John Leddy Phelan), (reproduced in Historical Digital), www.historicas.unam.mx].

◙◙◙ Maximilian I, first and last Habsburg Emperor of México, 1864-1867

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※ commemorated by Méxicans annually on “Cinco de Mayo” (5th of May)

⌑ one of the stratagems ultilised by Maximilian to try to make himself more appealing to Méxicans was to formally adopt the two grandsons of the first Méxican emperor, Agustín de Iturbide

⌽ practical assistance by the Americans to the republican side during the civil war was largely restricted to ‘losing’ caches of weapons over the border

⦿ Emperor Maximilian was probably aware of the downside of over-association with France – French diplomats sent to México City had an unfortunate tendency to make zero effort to disguise their distain for Méxicans, engendering an understandable reciprocal feeling of antipathy on the Méxicans’ part [Barker, Nancy N. “Monarchy in Mexico: Harebrained Scheme or Well-considered Prospect?” The Journal of Modern History 48, no. 1 (1976): 51-68. Accessed November 16, 2020. http://www.jstor.org/stable/1877749].

❂ both the French and the Méxicans viewed the prospect of further territorial grabs by the Americans as pretty much inevitable

◇ France had already signalled its interest in the lucrative Sonora silver mines in northern México