Note: Points’ managing editor, Eoin Cannon, favors us, today, with an interview on his just-out, new book, The Saloon and the Mission: Addiction, Conversion, and the Politics of Redemption in American Culture (University of Massachusetts Press, 2013). BTW, Big Congratulations, Eoin!
Describe your book in terms your bartender could understand.
Sorry, barkeep, but this book is about people who ceased to need your services and then made a realllly big deal about it. It’s about how and why people have told stories of recovery from alcoholism publicly since the late 19th century.
I focus especially on the legacies of the “drunkard’s conversion” testimonies given in urban evangelical missions and circulated widely in print from the 1880s to the 1910s. Despite their roots in old-time religion, these stories’ urban class dynamics made them compelling to those who saw the knot of poverty, ethnic difference, and vice as a modern social crisis. In personal voices and realistic slum settings, the drunkards’ conversion stories defied the irreversible fates associated with these categories. The practical understanding of salvation they offered also made such tales susceptible to a wide range of interpretations. So instead of seeing conversion stories as individualistically oriented distractions from structural injustices — as skeptical readers today might — many reformers, artists, and intellectuals in this period retold them as stories that modeled a wider social healing by the lights of a variety of social theories, from radical to reactionary. In the context of this contested discourse around the meaning of the drinker’s redemption, literary writers through the modern period told stories of alcoholism with high stakes. The drinker’s descent was a character-based crisis, but one that plumbed modern society’s perceived maladjustment and, possibly, harbored clues to its regeneration.
This programmatic approach to redemption shaped the storytelling conventions available to the budding recovery movement in the 1930s and beyond. A.A.’s pioneers subsumed the contested aspects of the form into a recognizably Depression-era revision of the self, one that understood the limitations of individualism in social as well as in spiritual terms. In mutual-aid circles, these stories could remain highly pragmatic, devoted to A.A.’s “primary purpose.” But public recovery stories since the rise of A.A. have taken the social ethic of mutual aid beyond twelve-step culture and out into the wider society. These stories often depict recovery as the solution to a social problem or even as the model of an ideal society. As such, they have tracked the progress of liberalism since the New Deal era and, I argue, helped to shape its redemptive ethos in the realm of culture.
So while we may not openly contest the meaning of the modern recovery story, preferring to accept that it simply describes how a sick person got well, the story form is so constructed as to embody foundational claims about the self and its relation to others. If we as a society don’t agree on those claims, neither will we agree on the meaning of recovery — arguably a dissensus increasingly in evidence since the 1960s.
What do you think a bunch of drug and alcohol historians might find particularly interesting about your book?
Most interesting might be the things they are most likely to question. First, I started my pre-history of recovery narrative in the postbellum rescue missions, rather than in the Washingtonian Movement of the 1840s. I placed a lot of weight on the secular implications of prevailing interpretations of mission testimonies, despite the fact that they had been preceded by an already secular movement a generation earlier. I did so because I found that the rescue mission stories were influential in mediating institutions — church homiletics, progressive reform, academic psychology, realist literature — which in turn informed the redemptive ideals and the storytelling styles more broadly associated with recovery in the 20th century. In other words, the rescue missions provided a master narrative of modern addiction storytelling. Continue reading →