Uzbekistan state university of world languages

2.3. The Return of the Vanishing American
All three books of The Littlepage Manuscripts feature an American Indian called Trackless or Susquesus, of the Onondaga tribe, a member of the Iroquois League. He never becomes a major protagonist and is usually cast in a supporting role as a loyal ally of the Littlepage family. Susquesus survives several generations of the family and makes his appearance in The Redskins as a venerable patriarch. He is neither an assimilated nor an assimilating Native American, though he has adapted, to some degree, to the changed natural and cultural environment, and has obviously undergone partial acculturation, though he shuns true integration. Neither can his mode of life and thought be described as separation or marginalization. Having no family and no children to carry on his lineage, he can be regarded as a Vanishing Indian, but he takes a very long time indeed to vanish. His remarkable longevity implies his rather successful acculturation and adaptation to the social changes, and his mode of survival at the margins of the colonists’ society can be called, with good reason, a critical integration.
Susquesus has chosen voluntary exile. He let his native Onondaga tribe for reasons which come out in the third part of The Littlepage Manuscripts, The Redskins. In Satanstoe (1845), the fi rst part, we learn that he was living for some time with the Mohawks, and now he lives on the frontier. Susquesus calls himself Tribeless; in the second book, The Chainbearer, he explains: “Susquesus got tribe no longer. Quit Onondagos thirty summer, now; don’t like Mohawk”. Although he does not belong to any tribe anymore and lives in exile among the whites in a frontier settlement, he keeps some distance from the host culture. The distance is both fi gurative and literal. He does not live in the village but in a hut in the forest. He is in touch with the settlers but he does not assimilate – he does not give up his own culture and he does not seem to accept the American culture either. Instead, he has developed some kind of symbiotic relationship to the American colonist culture, which is close to survivance. In the first part of the trilogy, Satanstoe, he appears relatively late in the plot – when the setting shifts from the cities to the frontier. He is one of the two American Indians who are hired by the surveyor’s party because they know the place and as hunters they can provide the party with meat. Susquesus’s occasional absences and his exile status attract the suspicion of some of the characters because it is not clear what his tribal affiliations and political sympathies are. Nevertheless, he proves to be a faithful ally and efficient guide, even though sometimes especially a modern reader may have misgivings, for example when he urges the three young men to join the English army in its offensive against the French, and thus deprive the frontier outpost of three able men in times of unrest and military conflict. He brings them to the battlefield in a canoe on time. Disregarding this exception, his services prove to be invaluable. He is the one who takes the three young men back when the battle is lost. He warns the surveyor’s party against the enemy attack and proves his courage as well as his resourcefulness during the siege of the blockhouse where the surveyor’s party seeks shelter from the vengeful band of Hurons. When the Hurons are driven back, he does not follow the white masters back to New York but he remains in the area where he was found and lives in the vicinity of the newly established frontier settlement.
In more than one respect Susquesus falls under the stereotype of the Noble Savage, who will not change his lifestyle but is willing to accept stoically the white man’s conquest and the tribal dispossessions, and thus becomes the wishful fantasy American Indian, a loyal ally and friend, but still preserving his own cultural integrity. As Sherry Sullivan puts it, “the final stroke of absolution comes from the Indian characters themselves, who always concur with the necessity of their own decline from power by accepting their fate and forgiving the injustice done to them”. The stereotype is, however, far from being a simple structure. Thus both Chingachgook from The Last of the Mohicans and The Pathfinder and Susquesus are Vanishing Indians in the sense that they do not assimilate into the mainstream of dominant colonial culture and they do not leave any lineage to continue the family but their positioning on the frontier and their cooperation with the white men demonstrate the possibility of some acculturation and cultural exchange, which is both a result of the desire of such an outcome as well as a realistic (mimetic) reflection of similar cases in the historical reality (Native Americans often served as scouts, guides, and hunters, first in the English and then in the American army). One important difference between both Chingachgook or Susquesus and Uncas from The Last of the Mohicans or Conanchet from The Wept of the Wish-Ton-Wish is that the former do not die in a heroic manner in the prime of their lives, but live long enough to serve as the connecting links between the archaic (heroic) past and modern present10. How far does Susquesus’s acculturation go? The way he lives indicates that he did not adopt the white man’s lifestyle and he still lives like an American Indian. This is evident in the second part of the trilogy, The Chainbearer, which takes place north-east of Albany, shortly after the American Revolution, like The Pioneers. The reader learns that Susquesus’s aid to the Littlepages during the Huron attack on the blockhouse, depicted in Satanstoe, was not his only engagement as an American ally. He won a reputation for his excellent services to the American army during the Revolution, under the nickname Sureflint. After the Revolution he goes on living among or near the white settlers but he does not adopt the white man’s manners and customs. Unlike old Chingachgook in The Pioneers, he neither frequents local inns nor attends Mass on Sundays. His voluntary exile in fact does not entail a rejection of his own culture. For example, he does not work, he does not have a farm, he breeds no cattle or poultry, and he lives by hunting birds and fishing. Unlike old Chingachgook in The Pioneers Susquesus does not convert to Christianity and he does not mix too much with the white settlers, although he has a few friends, for example Dus Malbone, Chainbearer’s niece, or her brother Frank. Dus in fact helps him to run the house and brings some baked food.
Cooper skillfully maintains a tension between cultural difference and some kind of acculturation. This is already evident in Susquesus’s very first appearance, when he meets Mordant on the road:
In the first place, I was soon satisfied that my companion did not drink, a rare merit in a red man who lived near the whites. This was evident from his countenance, gait, and general bearing, as I thought, in addition to the fact that he possessed no bottle, or anything else that would hold liquor. What I liked the least was the circumstance of his being completely armed; carrying knife, tomahawk, and rifle, and each seemingly excellent of its kind. He was not painted, however, and he wore an ordinary calico shirt, as was then the usual garb of his people in the warm season. The countenance had the stern severity that is so common to a red warrior; and, as this man was turned of fifty, his features began to show the usual signs of exposure and service. Still, he was a vigorous, respectable-looking red man, and one who was evidently accustomed to live much among civilized men.
While his calico shirt, good gun, and steel knife suggest technological appropriation, other details establish his cultural difference – he wears moccasins and he carries a tomahawk. He also walks silently side by side with Mordaunt for a couple of minutes before he greets him, and again in the Indian manner – Sa-a-go. Mordaunt politely respects the cultural difference and waits patiently until the American Indian speaks first. After the greeting another three-minute pause follows, and only then can a real conversation start. It is a great scene because it contains some suspense springing from the fact that the American Indian is better armed and his intentions are unknown for some time.
His cultural difference is apparent when the question of land ownership comes up. In contrast to the settlers, he rejects the concept of possessing land. “Injin own all land, for what he want now. I make wigwam where I want; make him, too, when I want”.
While in Satanstoe Susquesus helped to establish and protect the settlement against an external enemy, in the second part his potential for action is much diminished because there is no war and no attack on the frontier post occurs in which he could excel. But he proves to be useful in more than one way. It is he who discovers an illegal sawmill, set up by a squatter family, the Thousandacres, who cut down the trees in Mordaunt’s forest and want to fl oat them down the river for sale. When Mordaunt and Susquesus are imprisoned by the suspicious Thousandcres, Susquesus manages to slip away and pass a warning message to his friend Jaap, who later brings a rescue party.
The spatial location of Susquesus’s hut, apart from but close enough to the settlement, indicates his mode of adaptation. He is free to choose isolation or participation, depending on the occasion. So none of Berry’s concepts fits this case, whether it is separation or marginalization. Susquesus is situated in the interstices between two different social, economic, and moral orders. If he thinks it is right, he does not hesitate to act against the norms of the colonist culture. When his friend, the honest Chainbearer, is killed by Thousandacre, Susquesus takes the law into his own hands, and shoots the villain dead.
This incident finely demonstrates the interaction of the two cultural systems and readiness to negotiate and strike compromises; his act contains both resistance to and acceptance of the colonists’ social and moral order. Susquesus follows his own notion of justice and but he does it secretly, to avoid open confrontation with the colonists’ law, and he never confesses to it. His response cannot be classified as Berry’s integration because his acceptance of the colonists’ law is only formal. Nor can it be regarded as Berry’s separation because he does not cultivate any bitter antagonism. So neither integration nor separation fits his mode of life.
The conception of this American Indian character undergoes another transformation in the third, and artistically poorest, volume of The Littlepage Manuscripts, The Redskins; or, Indian and Injin (1846), where Susquesus has become a venerable patriarch. Obviously, because of his old age, he has become more dependent on the support of the Littlepage family. From what Susquesus says in his formal speeches at the end of the novel to a delegation of American Indians from the West, it follows that he has become an integrated Indian. He politely rejects their invitation to live among them with all the honors and respect (separation) that this entails, pointing out that he is too old for such a journey and he has lived too long among the white people not to be affected by their culture:
I have lived with the pale-faces, until one half of my heart is white; though the other half is red. One half is filled with the traditions of my fathers, the other half is fi lled with the wisdom of the stranger.
By the wisdom of the stranger, and let us notice that after all those years of living among the white people, he still considers the white people strangers, he seems to mean friendship and Christianity, with its ethics of compassion and brotherly love and its conception of the afterlife. The problem is, however, that Cooper does not develop this theme in the novel and provides no examples of the clash of the two systems in Susquesus’s mind. Susquesus is actually absent from the scene of action for the greater part of the novel and is brought on stage only at the dramatic climax. Susquesus appreciates the wisdom of “the stranger” (white man) but his further and more thorough integration is hampered by the failure of the stranger to live up to those ethical and spiritual standards. Later in his speech he criticizes the contradiction between the white man’s theory and practice:
My children, never forget this. You are not pale-faces, to say one thing and do another. What you say, you do. When you make a law, you keep it. This is right. No red-man wants another’s wigwam. If he wants a wigwam, he builds one himself. It is not so with the pale-faces. The man who has no wigwam tries to get away his neighbour’s. While he does this, he reads in his Bible and goes to his church. I have sometimes thought, the more he reads and prays, the more he tries to get into his neighbour’s wigwam. So it seems to an Indian, but it may not be so. My children, the red-man is his own master. He goes and comes as he pleases.
If we bypass Cooper’s rather utilitarian exploitation of the rhetoric here, using or abusing it for his agenda in this novel (protecting property rights), and consider it as an attempt to construct an alternative, a cultural other as the moral exemplar, there is one important implication of this speech – no sense of vanishing or ending is expressed here. The visiting party of chiefs, who are on their way back home to the West, and Susquesus, who prefers to stay where he is, represent two kinds of responses to colonization, separation as a way of preserving traditional values, or survivance, neither full assimilation, nor integration nor marginalization, but cooperation while maintaining a critical distance from the enslavement of the material world and upward/moving socio-economic mobility. Susquesus’s kind of survivance can also be called critical integration because he prefers to follow the simple American Indian ethics, keep a critical distance from the colonists’ culture and their confusing blend of political and ethical idealism with its stress on self-centered individual freedom and pragmatic and greedy materialism, topped off with disrespect for the laws they are so proud of.
Contrary to the critical myth, there are American Indian characters in James Fenimore Cooper’s novels who are involved in the process of acculturation. In the 1840s, the trilogy The Littlepage Manuscripts introduces a new type of American Indian, who displays more adaptability and whose mode of life can be characterized as developing from survivance to what I call critical integration. This new type of American Indian, Susquesus, lives outside his tribal culture and at the margins of the Euro-American culture. Although Susquesus is still a rhetorical product of the white man’s primitivist fantasy and is used as a moral exemplar, he opens up space for a type of American Indian who is neither tragic hero, nor demonic villain, but a protagonist who retains his moral integrity in the face of the contradiction between the white man’s ethics and his practice.