ABSTRACT
This chapter explains that the diversity is even greater than the duality between novel and poetry that Doty identifies, a long wind-up of miscellaneous genres begins, a drama sits at the volume's midpoint, an extensive section of notes and a chronology end the volume, epigraphs abound, as do references to musical genres. Dove marks a double loss, but assembles Sonata Mulattica in a mode of transatlantic double logic, allowing 'The Bridgetower' to emerge into history not only as the work, but also as the man. In her use of mixed genre, and their extensions, from British propriety to American television, from German Volkstheater to African-American idioms, and from European musical forms to Copland's musical icon, to recall but a few, Dove establishes a transatlantic genre that functions both as a base for knowledge on which the history of a little-known mulatto violinist might stand and as a model for recalling complex subjectivities through literary history.
