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Though the Treaty of Guadalupe Hidalgo (1848) ostensibly extended American citizenship to the Mexican landed class at the conclusion of the Mexican American War and ensured their property rights despite the transfer of land to the U.S., they were nonetheless stripped of formal claims to their property and forced to enter into lengthy and costly legal battles to regain possession of these ranches. Hidalgos had to compete with Anglo agricultural settlers (or squatters), as well as with the railroad barons looking to expand railways in the newly annexed territories. Women are able to best navigate the unstable political economy of the borderlands through the act of squatting, understood broadly to mean the settlement of “unoccupied” land. Read alongside the significant historical events including various land laws and pre-emption acts of the mid-nineteenth century, hidalgo women perform forms of ownership that upend the racialized and gendered logics of citizenship, and the intimate ties between property and rights. The Squatter and the Don recasts the “problem” of Mexican land occupation as U.S. anxiety over territorial expansion and colonization made more complex by the presence of differently racialized populations along the borderlands.

This chapter examines the ways early nineteenth century authors framed piracy as an instrument of state growth, anti-colonial resistance, as well as a rationale for imperial expansion and intervention in the Americas in William Gilmore Simms’s The Yemassee (1835), John Brougham’s 1857 play Columbus, El Filibustero!, James Fenimore Cooper’s The Red Rover: A Tale (1829) and The Water Witch; or, The Skimmer of the Seas (1830), as well as El Filibustero: Novela Historica (1864), written by Yucatec author Eligio Ancona. In a climate of rapid national expansion, nineteenth century authors used the pirate as a central character to plot national(ist) narratives. Given piracy’s relationship to both state-building and anti-colonial enterprises, as well as piracy’s capacity to both facilitate and threaten property ownership, piracy helps us understand the radical and repressive regimes of American power. The historical novels examined in this chapter are interested in the shadowy origins of the American nation-state, as much as they are with the potentially conflicted present and future of these nation-states.

This essay argues that William Godwin's theory of historical romance may be placed in productive dialogue with Michel Foucault's influential preference for Nietzschean 'genealogy' over conventional history. For both, a narrative capable of unfolding the motive forces of history will necessarily be dispersed, contingent and fragmentary. This line of genealogical Gothic is traceable from Godwin through Wollstonecraft and Mary Shelley in England, and through Charles Brockden Brown and Herman Melville in America. In genealogical Gothic, history is expressed as trauma, as an originating event that leads to haunting and repetition experienced by the sufferer as (to use Melville's term) 'tranced grief'. These narratives may be contrasted with Walter Scott's versions of the historical romance, which look to narrate some kind of historical resolution to the conflicts of the past. In this respect, genealogical Gothic relates to Scott as New Historicism does to grand narratives.