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The Temporality of Commonplaces: A Response to Meredith McGill

When Henry C. Morse of Wallingford, Connecticut, began to assemble his nineteenth-century commonplace book, copying poems and songs from sources he did not identify, he did not record exactly when he transcribed each full or partial text. Yet he did date the first entry, so we know he started keeping this personal poetry and song notebook on 23 November 1860. It begins as a patriotic collection but soon becomes explicitly a Civil War anthology. As Meredith McGill makes clear, thorough bibliographical and temporal bookkeeping is not the norm for commonplace books. Morse’s commonplace book does, however, make it altogether clear what the relevant span of time is for his compilation of relevant values—the American Civil War. It is a wartime collection, in this case of poems copied in holograph. Equally common during the Civil War were commonplace books constructed as scrapbooks—with poems and portions of poems clipped from newspapers and glued on pages. People constructing both kinds of commonplace books—the holograph-based and the scrapbook style—often grouped poems in categories: honoring the flag, battlefield commemorations, and often values, like love, that they needed to sustain despite radical social dislocation. Of course, as McGill points out, once they established the categories ruling their vade mecums they often left space so they could continue to add to them and embellish them. As one would expect, these personal anthologies also occur in mixed holograph and clipping form, with full poems, partial poems, and other kinds of discourse assembled as personal collage. This kind of mixed commonplace book—with holograph quotations and clipped or transcribed poems—extends into the