TOM DRISCOLL AS THE MANIPULATOR OF SOCIAL AND CULTURAL CAPITAL IN PUDDN'HEAD WILSON

Abstract

Expanding on the critical discussion of the ambiguity of slave identity in Mark Twain’s Puddn’head Wilson put forward by Rowe (137), I argue that by exploiting the weakness of transitional capitalist society, the white slave character Tom Driscoll (Valet de Chambre) manipulates cultural identifiers in the form of cultural and social capitals to subvert power from the ruling white elite and ultimately elevate his societal status. I propose that his subversion of power must be defined within the specific discourse of that setting, and this setting allows Tom, normally a black slave, to redefine himself as a white aristocratic member of society. Tom’s “passing” as a white aristocrat was initiated and propelled into being by his mother, Roxy, by exploiting main cultural identifiers that serve as parameters of cultural and social capitals. The first is Tom’s racial likeness to white slave masters, which enabled him to supplant the true heir of the Driscoll family. The second is the objectified cultural capital of physical appearance—such as speech and manners—to gain and maintain the outward appearance of a white aristocrat. The third is his conformity to the lofty ideals of lifestyle, manner, language, and honor, which are required to pass as a member of the Driscoll family. Tom then functions as a sum of all Driscoll cultural, social, and economic capitals, and he is able to “steal” the name of a powerful Driscoll family. These are all maintained by Tom in order to rob the Driscolls of their capitals and, ultimately, their power.