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no longer be distinguished from the present; the old can no longer be distinguished from the new. Everything that is produced immediately becomes a relic of the past (Hartoonian 185). 3 In Present Pasts, Andreas Huyssen talks about the recent emergence of a memory culture in North Atlantic societies that he regards as a reaction to new media technologies and the subsequent loss of lived tradition. Huyssen believes that “in this prominence of academic ‘mnemo-history,’ memory and musealization together are enlisted as bulwarks against obsolescence and

her mission to the South, she was too busy establishing herself as a medical doctor and gynecologist in New England to pursue a career as an author. But we can speculate that what kept her from presenting the diary to a larger readership was the risk her ideas would have posed for her hard-won career as a doc- tor. Because it represents the former slaves as the better citizens while accusing the northern “liberators” of lacking morality, the diary’s message challenged the domi- nant discourse of the era: as scholars of American memory culture have argued, “race

five from Drum-Taps and Sequel” (Gutman 1998). 24 I leave out the fourth edition here that came out in 1867 and contained only six new poems. Termed “the most chaotic of all six editions,” the fourth edition has been read as a direct, “ragged” expression of the “social upheaval in the immediate aftermath of the Civil War” (1998). 25 As Wolfgang Hochbruck has pointed out, the Gettysburg Address was central to the post- war memory culture as it was increasingly seen as a re-interpretation of the Declaration of Independence (2011: 158-59 and 206-07). 280 of