This chapter situates the documentary movement of the 1930s and its preoccupation with the folk within the larger history of American modernism. I show how “the culture concept” emerged within the overlapping fields of anthropology and folklore to guide the practice of ethnography and its “study of modernity’s others” in the age of US imperialism and world war. For some Black and Native ethnographers, the folk offered an avenue for staking a claim of history, contribution, and modern belonging. New Deal documentary projects repurposed the folk as stalwart protagonists of the past, the backstory to a centralized narrative of national culture and its constituent parts. By contrast, many documentary books destabilized representations of the folk, producing a more self-reflexive account of social relations of power. While some texts anticipated the Cold War turn to the plight of the individual, others took aim at the racial fault lines of American exceptionalism.

“Passivity: The Passion of Oroonoko and the Ethics of Narration” recovers a historical meaning of “passive obedience,” a precursor to modern theories of civil disobedience, and it uses this concept to read both the protagonist, an African prince enslaved in a new world colony, and the narrator, a colonial woman writer, of Oroonoko. It argues that the narrator of Oroonoko, and by inference novelistic narration in general, is based on assumptions about the ethics of individual detachment (or ironic distance) from political action. In recovering the idea of passive obedience and the figure of Christ’s passion as a model for novelistic narration and a conservative ethics of citizenship under liberalism, this chapter offers a critique of liberal theories of political action as well as an argument against the novel’s foundation in liberal theories of individualization and agency. It also takes up the problems of racism and slavery as central to understanding both the liberal/conservative dynamic and the development of the novel form.