Ragtime, as it relates to the 1970s

  Ragtime, as it relates to the 1970s

    “Ragtime” paints a vivid picture of the early 20th century. The music of the era seems to linger in the imagery and storytelling: each paragraph a note, each chapter a syncopating melody. Doctorow infuses the novel with a constant subharmony of sarcasm and composes an original story using the tools of history. We experience most of the novel through the thoughts and feelings of various characters, and are frequently encouraged, or even forced, to draw our own conclusions on the morality and reality of the situations we are presented with. Nevertheless, Doctorow’s inner opinions sit in between each line. As I read I often found myself questioning his history and motivations as they relate to his choices in tying together the historical truths and fictional constructs.

In an interview with New York Magazine Doctorow revealed the novel seemed to write itself; “when you’re working well, you don’t do research” (Kachka). Throughout the work he incorporates not only elements of history and fiction but also elements of past and future. While the novel may be set in the early 20th century, it is apparent throughout that issues at the time greatly affected Doctorow’s approach.

    In the years prior to the publication of “Ragtime” public opinion on the government was beginning to plummet. Most notably is the influence of Watergate. When Nixon abused his power to cover up a scandal he orchestrated, public trust took a nosedive. Doctorow tends to make presumptions into the thoughts and feelings (usually in a mocking light) of the historical characters who possess a great deal of power. Take for example J.P. Morgan: Morgan historically was involved in less than pure practices in his rise to the top of the American economy and to this day his name is tied to massive scale cover-ups and questionable dealings through his namesake bank. In the novel Doctorow characterizes Morgan to be almost pitiable and delusional. 

    This same attitude is reflected in the leadership of New Rochelle and their inability to properly handle Coalhouse Walker. The entire situation in and of itself is brought about by the misconduct of the firemen and worsened by police officers and lawyers' dismissive attitudes. Outside individuals have to be brought in to handle Coalhouse once he controls Morgan’s library, such as Booker T. Washington and even Father. The police said they will arrest Coalhouse and award him due process, as are his rights, but instead they shot him as soon as he surrendered. This violent and conniving act may illustrate the disillusionment shared among Americans in the early 1970s.

    Beyond Watergate, the Black Power Movement was at its peak in the time Doctorow would have been writing and conceptualizing “Ragtime”. The Black Power Movement was headlined by a fight for not only civil rights but a fight for Black individual’s right to have economic freedom/stability and pride. These are two cornerstone traits of Coalhouse Walker. From the jump Doctorow describes him as a self-determined man who refuses to give up his pride. As we see Coalhouse through other character’s eyes they often view him as overly prideful and stubborn. This beautifully represents much of the response to the Black Power Movement; the notion that a Black individual should “know their place” was pervasive throughout the time and the novel. Additionally many white Americans viewed the Black Power Movement as violent in nature. Although this was not entirely true; members of the movement would often carry weapons but would not insight violence. However, the sharp turn from the Civil Rights Movement’s focus on non-violence to the attitude of the Black Power Movement unsettled many. The public perception of Coalhouse as a constant threat illustrates the same attitude held towards the Black Power Movement, despite the far less violent nature of the movement. Coalhouse represents the furthest extreme and through his character Doctorow makes us question our own beliefs and where we draw the line between a fight for justice and a blatant crime.

    “Ragtime” is inherently full of nuance through its historical and fictional elements, but it is equally nuanced in its depiction of both the 1900s-1910s and the 1970s. Doctorow infuses a relatable aspect in many of the political and moral questions that form the patchwork novel. “Ragtime” remains relevant and not only does it force us to question the reality in the novel itself, but tangentially the reality we perceive every day.

Kachka, Boris. “How I Made It: E.L. Doctorow on ‘Ragtime’.” New York Magazine, 3 Apr. 2008, https://nymag.com/anniversary/40th/culture/45760/