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Imperial Gothic: Religious Architecture and High Anglicanism in the British Empire, c 1840-1870

JAE 68: 1 regarding race are individually internalized in the form of metaphors, narratives, emotive associations, images, and so on, and culturally reproduced at many levels. Psychological mechanisms work in tandem with social practices that are themselves seemingly validated by their longevity to make racial distinctions seem the product of nature rather than culture. Such distinctions orient our everyday experience in particular ways and lead to specific constructions of otherness, and, like a window frame when we look outdoors, they are simultaneously formative and unobserved. The frame is overlooked in favor of what is disposed within it. Only concerted and prolonged effort to see the frame’s structure yields insight into the processes that shaped it. Framing is inevitable, it is an essential tool for selecting from the flux of ordinary life those elements that give shape and meaning to experience; ignorance of framing, however, is avoidable. Harris does not discuss framing as such but her work advances the idea considerably. She expands the sociologist’s perspective, which often centers on linguistic behavior, to include the forms and arrangements of the physical environment. Of course, no material object is inherently black or white without its mantle of cultural discourse, but, once built, a house, a block, or a suburban town continues to communicate its originary terms. In American culture, the little white house behind the nuclear family became a material manifestation of racialized and class-based knowledge, whether or not anyone ever mentioned skin color or wealth. This routine setting, Harris has convincingly argued, embeds normative values within the veil of habit and the good-natured, self-evident consensus of like-minded neighbors. She powerfully conveys the idea that socially conditioned personal, family, and even national identities are fashioned as much from material and spatial configurations of the home as from explicit political and cultural beliefs. With Little White Houses, Harris has not so much added another element to a racial frame as she has described a crucial historical scaffolding for it, row after row of little white houses in the postwar American suburb.