Expanding on the critical discussion of the ambiguity of slave identity in Mark Twain’s Puddn’head Wilson put forward by Rowe (137), I want to argue that by exploiting the weakness of transitional capitalist society, the white slave character Tom Driscoll (Valet de Chambre) manipulates cultural identifiers in the form of cultural and social capitals, in order to subvert power from the ruling white elite, and ultimately elevate his societal statuses. I propose that his subversion of power, must be defined within the specific discourse of that setting, and this setting allows Tom, normally a black slave, to redefine himself as a white aristocratic member of the society. Tom’s ‘passing’ as a white aristocrat was initiated and propelled into being by his mother, Roxy, by exploiting main cultural identifiers which are parameters of cultural and social capitals. The first is Tom’s racial likeness to white slave masters which enabled him to supplant the true heir of the Driscoll’s family. The second is the objectified cultural capital of physical appearance such as speech and manners, to gain and maintain outward appearance of a white aristocrat. And the third, his conformity to the lofty ideals of lifestyle, manner, language, and honor, are required to pass as a member of the Driscoll family. Tom can then function as a sum of all Driscoll’s cultural, social, and economic capitals, and he was able to ‘steal’ the name of a powerful Driscoll family. These are all maintained by Tom in order to rob the Driscoll’s of their capitals, and ultimately, their power
