Morgan and American Imperialism

The turn of the 20th century saw many tectonic shifts in American culture, as we've seen outlined in Doctorow's Ragtime. One that has yet to be directly addressed (as far as I know at the time of my writing this) is the advent of modern American imperialism. Though imperialism was hardly something new to the country in the 1900s (America being the bastard offspring of the British Empire and having already decimated indigenous populations) the early 1900s was where we saw America really take the world stage in terms of its scope and where it began the global expansion of its power that we know so well today. During the 1898 Spanish-American War (which was heavily glorified by contemporaries) America acquired formerly Spanish-owned Pacific territories. This set off a sequence of wars in which America began expanding its power beyond the mainland, beginning to resemble the empire we know it to be today. The imperialism was not only justified, but seen as the natural course. America was the peak of human civilization, it was their responsibility to spread their values of freedom to every corner of the brown and savage globe.

I think the same themes of American exceptionalism and imperialism can be found in Doctorow's portrayal of JP Morgan. Morgan's narrative arc across the two chapters is that of a man who has amassed so much power (having conquered the world) that he wonders what is left to do. Such was the state of 1900s America which, having finished expansion in its mainland territory, set its eyes on the Pacific and beyond. And so Morgan, similarly dissatisfied with the massive power he’s accrued, attempts to explore new territory. There is a direct parallel in that he begins traveling the world, appropriating other cultures in the age-old “white man finds himself through brown man’s world” journey. But his primary new territory is that of mysticism. Having transcended the earthly dimension, he turns to the metaphysical for new conquest, learning of myths and gods.

But it is not just this mentality of expansion that Morgan shares with American imperialism, but the impression of a divine right to this expansion, to this power. With Morgan, this divine right is quite literal, since he sees himself as a reincarnated pharaoh. When the reader comes across his descriptions of said divine right, of greatness being his destiny, the words “manifest destiny” may come to mind. Like his country, Morgan believes his exceptional nature makes him deserving of this power and of ruling over every dominion.

It is also worth noting that, in addition to the novel’s setting, Doctorow’s time period was also one that dealt heavily in imperialism. In the immediate aftermath of the Vietnam War, there was widespread criticism of America overstepping its bounds in an attempt to spread its ideals. Doctorow may have had those sentiments fresh in mind when painting his portrait of Morgan, displaying the vanity and arrogance that leads to this mentality of expansion.

But Doctorow’s imperialist portrait is not simply a discussion of amassing power, but also of power’s relation with time - whether a great empire (or entrepreneur) will stand the test of time or cave to it. Morgan is constantly aware that everything he built may one day collapse, that he, too, is mortal. After all, he has a big red reminder in the middle of his face making sure he never forgets that very fact. This is where Morgan’s obsession with Ford comes in. Ford represents a potential continuation of Morgan’s capitalism. Youthful and on the rise, if Morgan can recruit him perhaps there is a potential for his legacy to live beyond him. It is no mistake (on Doctorow’s part) that Morgan sees in his potential protegee a resemblance to Seti I, a pharaoh whose well-preserved body has managed to endure the ravages of time.   But it is also no mistake that Doctorow mentions Seti I’s son, Ramesses II, famously the subject of Percy Bysshe Shelley’s poem “Ozymandias”. “Ozymandias” is about a traveler who comes across the shattered statue of a once-great king. The poem shows that even the largest empires fall victim to time. With this allusion, Doctorow suggests that Morgan will inevitably fade into oblivion. Morgan’s obsession with reincarnation similarly introduces themes of legacy, since the legends he’s perused suggest that greatness never goes away, but is constantly renewed.

With this discussion of mortality, legacy, and the relation between time and power, Doctorow posits the question: Will America last?

Will the empire inevitably cave to the pressures of time? Morgan, is, after all, a founding father of industrial America and generally an icon of the country. So is his ultimate failure in recruiting Ford and Morgan’s old age (which Doctorow emphasizes by acknowledging his out of date clothes and physical appearance) indicative of an America ready to topple?

Or will the empire continue to grow and find new avenues by which to expand its power? Does Doctorow foresee a continuation of America through reincarnation? Does he foresee Ford as the new Morgan, set to take the reins and usher in a new age of capitalism by which America can thrive? One less concerned with the extravagance and trappings of wealth (like Morgan was) and more heavily focused on efficiency and production?