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Jessie Morgan-Owens

’s Romantic fiction. Generations of editors have echoed Sophia’s photographic metaphors as a way of representing the Hawthornes’ note-books.6 According to the editors of a new transcription of MA 580, entitled Ordinary Mysteries, these commonplace notebooks served the Hawthornes as ‘the nineteenth century equivalent of snapshot albums or home movies’. Moreover, this ‘photograph’ of their home life ‘has been developed twice’: first by Nathaniel, then by his editor, Sophia.7 Paul Auster, in his 2003 introduction to a reprint of Twenty Days with Julian and Little Bunny by Papa

in Mixed messages
Abstract only
Bound together
Andy Campbell

Research in Art History, Anyway?,’ in Michael Ann Holly and Marquard Smith (eds.), What is Research in the Visual Arts? Obsession, Archive, Encounter (Williamstown, MA: Sterling and Francine Clark Art Institute, 2008), p. 10. Holly cites Maurice Blanchot’s thoughts on writing and dread to arrive at this formulation. For more, see Maurice Blanchot, ‘From Dread to Language,’ in The Station Hill Blanchot Reader: Fiction and Literary Essays, trans. Lydia Davis, Paul Auster, and Robert Lamberton (Barrytown, NY: Station Hill Press, 1998), pp. 343–58. Introduction 41

in Bound together