A SCHOLARLY BOOK REPOSITORY
Jonathan Shandell provides the first in-depth study of the historic American Negro Theatre (ANT) and its lasting influence on American popular culture. Founded in 1940 in Harlem, the ANT successfully balanced expressions of African American consciousness with efforts to gain white support for the burgeoning civil rights movement. The theatre company featured innovative productions with emerging artists—Sidney Poitier, Harry Belafonte, Ruby Dee, and many others—who would become giants of stage, film, and television. In 1944, the ANT made theatrical history by creating the smash hit Anna Lucasta, the most popular play with an African American cast ever to perform on Broadway. Starting from a shoestring budget, the ANT grew into one of the most important companies in the history of African American theatre. Though the group folded in 1949, it continued to shape American popular culture through the creative work of its many talented artists.
Examining oral histories, playbills, scripts, production stills, and journalistic accounts, Shandell gives us the most complete picture to date of the theatre company by analyzing well-known productions alongside groundbreaking and now-forgotten efforts. Shedding light on this often-overlooked chapter of African American history, which fell between the New Negro Renaissance and the Black Arts Movement, Shandell reveals how the ANT became a valued community institution for Harlem—an important platform for African American artists to speak to racial issues—and a trailblazer in promoting integration and interracial artistic collaboration in the U.S. In doing so, Shandell also demonstrates how a small amateur ensemble of the 1940s succeeded in challenging, expanding, and transforming how African Americans were portrayed in the ensuing decades. The result is a fascinating and entertaining examination that will be of interest to scholars and students of African American and American studies and theatre history, as well as popular culture enthusiasts.
In North America between 1894 and 1930, the rise of the “New Woman” sparked controversy on both sides of the Atlantic and around the world. As she demanded a public voice as well as private fulfillment through work, education, and politics, American journalists debated and defined her. Who was she and where did she come from? Was she to be celebrated as the agent of progress or reviled as a traitor to the traditional family? Over time, the dominant version of the American New Woman became typified as white, educated, and middle class: the suffragist, progressive reformer, and bloomer-wearing bicyclist. By the 1920s, the jazz-dancing flapper epitomized her. Yet she also had many other faces.
Bringing together a diverse range of essays from the periodical press of the late nineteenth and early twentieth centuries, Martha H. Patterson shows how the New Woman differed according to region, class, politics, race, ethnicity, and historical circumstance. In addition to the New Woman’s prevailing incarnations, she appears here as a gun-wielding heroine, imperialist symbol, assimilationist icon, entrepreneur, socialist, anarchist, thief, vamp, and eugenicist. Together, these readings redefine our understanding of the New Woman and her cultural impact.
"To confront American culture is to feel oneself encircled by a thin but strong presence. I call it Emersonian, an imprecise term but one that directs us to a dominant spirit in the national experience." Thus Irving Howe, America's distinguished social critic and a longtime reader of the Sage of Concord, begins this illuminating discussion of Emerson and his disciples and doubters. What is the Emersonian spirit? What inspired it, what propelled it? And what does it mean to us today?
History gave Emerson his opportunity and then took it away. Coming to manhood during the 1830s and 1840s, the time of "the newness" when Americans beheld the world with unbounded expectations, Emerson became the spokesman for the self-reliant new man he believed had arisen, ready to thrust aside mossy traditions and launch a new revolution of freewheeling thought. But the rapid pace of the American experience overtook the Emersonian vision; in the 1850s, the rising problems of slavery, a boom-and-bust economy, the vulgarity of mass culture overwhelmed the idealist. His satellite spirits wavered and shrouded the Emersonian optimism: Hawthorne, with his stories of moral breakdown; Thoreau, rooted in nature yet inclined to the cranky and fanatical; Melville, his fathomless blackness waiting beneath archetypal fables of innocence and evil also Walt Whitman, Orestes Brownson, Twain--all were influenced by, yet reacted against, the Emersonian "newness."
Howe identifies three kinds of response: the literature of work (Melville and Mark Twain),the literature of Edenic fraternity (James Fenimore Cooper, Whitman, Twain again), and the literature of loss (all the post-Civil War writers). He lays before us the intellectual and personal tragedy of the first great American man of letters, yet also shows that Emerson's belief in the untapped power of free men pervades not only the lives and works of his contemporaries but is also a permanent part of the American psyche.
The cliché of the Ugly American—loud, vulgar, materialistic, chauvinistic—still expresses what people around the world dislike about their Yankee counterparts. Carrie Tirado Bramen recovers the history of a very different national archetype—the nice American—which has been central to ideas of U.S. identity since the nineteenth century.
Niceness is often assumed to be a superficial concept unworthy of serious analysis. Yet the distinctiveness of Americans has been shaped by values of sociality and likability for which the adjective “nice” became a catchall. In America’s fledgling democracy, niceness was understood to be the indispensable trait of a people who were refreshingly free of Old World snobbery. Bramen elucidates the role niceness plays in a particular fantasy of American exceptionalism, one based not on military and economic might but on friendliness and openness. Niceness defined the attitudes of a plucky (and white) settler nation, commonly expressed through an affect that Bramen calls “manifest cheerfulness.”
To reveal its contested inflections, Bramen shows how American niceness intersects with ideas of femininity, Native American hospitality, and black amiability. Who claimed niceness and why? Despite evidence to the contrary, Americans have largely considered themselves to be a fundamentally nice and decent people, from the supposedly amicable meeting of Puritans and Native Americans at Plymouth Rock to the early days of American imperialism when the mythology of Plymouth Rock became a portable emblem of goodwill for U.S. occupation forces in the Philippines.
If you were looking for a philosopher likely to appeal to Americans, Friedrich Nietzsche would be far from your first choice. After all, in his blazing career, Nietzsche took aim at nearly all the foundations of modern American life: Christian morality, the Enlightenment faith in reason, and the idea of human equality. Despite that, for more than a century Nietzsche has been a hugely popular—and surprisingly influential—figure in American thought and culture.
In American Nietzsche, Jennifer Ratner-Rosenhagen delves deeply into Nietzsche's philosophy, and America’s reception of it, to tell the story of his curious appeal. Beginning her account with Ralph Waldo Emerson, whom the seventeen-year-old Nietzsche read fervently, she shows how Nietzsche’s ideas first burst on American shores at the turn of the twentieth century, and how they continued alternately to invigorate and to shock Americans for the century to come. She also delineates the broader intellectual and cultural contexts within which a wide array of commentators—academic and armchair philosophers, theologians and atheists, romantic poets and hard-nosed empiricists, and political ideologues and apostates from the Left and the Right—drew insight and inspiration from Nietzsche’s claims for the death of God, his challenge to universal truth, and his insistence on the interpretive nature of all human thought and beliefs. At the same time, she explores how his image as an iconoclastic immoralist was put to work in American popular culture, making Nietzsche an unlikely posthumous celebrity capable of inspiring both teenagers and scholars alike.
A penetrating examination of a powerful but little-explored undercurrent of twentieth-century American thought and culture, American Nietzsche dramatically recasts our understanding of American intellectual life—and puts Nietzsche squarely at its heart.
Terry's overarching argument is compelling: that homosexuality served as a marker of the "abnormal" against which malleable, tenuous, and often contradictory concepts of the "normal" were defined. One of the few histories to take into consideration homosexuality in both women and men, Terry's work also stands out in its refusal to erase the agency of people classified as abnormal. She documents the myriad ways that gays, lesbians, and other sexual minorities have coauthored, resisted, and transformed the most powerful and authoritative modern truths about sex. Proposing this history as a "useable past," An American Obsession is an indispensable contribution to the study of American cultural history.
“The ghosts of the Civil War never leave us, as David Blight knows perhaps better than anyone, and in this superb book he masterfully unites two distant but inextricably bound events.”―Ken Burns
Standing on the steps of the Lincoln Memorial on August 28, 1963, a century after the signing of the Emancipation Proclamation, Martin Luther King, Jr., declared, “One hundred years later, the Negro still is not free.” He delivered this speech just three years after the Virginia Civil War Commission published a guide proclaiming that “the Centennial is no time for finding fault or placing blame or fighting the issues all over again.”
David Blight takes his readers back to the centennial celebration to determine how Americans then made sense of the suffering, loss, and liberation that had wracked the United States a century earlier. Amid cold war politics and civil rights protest, four of America’s most incisive writers explored the gulf between remembrance and reality. Robert Penn Warren, the southern-reared poet-novelist who recanted his support of segregation; Bruce Catton, the journalist and U.S. Navy officer who became a popular Civil War historian; Edmund Wilson, the century’s preeminent literary critic; and James Baldwin, the searing African-American essayist and activist—each exposed America’s triumphalist memory of the war. And each, in his own way, demanded a reckoning with the tragic consequences it spawned.
Blight illuminates not only mid-twentieth-century America’s sense of itself but also the dynamic, ever-changing nature of Civil War memory. On the eve of the 150th anniversary of the war, we have an invaluable perspective on how this conflict continues to shape the country’s political debates, national identity, and sense of purpose.
Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today. But as this book reveals, audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall. And what they heard weren’t just symphonic works—programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes.
In eighteenth-century America, the East was, paradoxically, a means of reinforcing the enlightenment values of the West: Franklin, Jefferson, and other American writers found in Confucius a complement to their own political and philosophical beliefs. In the nineteenth century, with the shift from an agrarian to an industrial economy, the Hindu Orient emerged as a mystical alternative to American reality. During this period, Emerson, Thoreau, and other Transcendentalists viewed the "Oriental" not as an exotic other but as an image of what Americans could be, if stripped of all the commercialism and materialism that set them apart from their ideal. A similar sense of Oriental otherness informed the aesthetic discoveries of the early twentieth century, as Pound, Eliot, and other poets found in Chinese and Japanese literature an artistic purity and intensity absent from Western tradition. For all of these figures the Orient became a complex fantasy that allowed them to overcome something objectionable, either in themselves or in the culture of which they were a part, in order to attain some freer, more genuine form of philosophical, religious, or artistic expression.
Like the ancient Roman Pantheon, the U.S. Capitol was designed by its political and aesthetic arbiters to memorialize the virtues, events, and persons most representative of the nation's ideals—an attempt to raise a particular version of the nation's founding to the level of myth.
American Pantheon examines the influences upon not only those virtues and persons selected for inclusion in the American pantheon, but also those excluded. Two chapters address the exclusion of slavery and African Americans from the art in the Capitol, a silence made all the more deafening by the major contributions of slaves and free black workers to the construction of the building. Two other authors consider the subject of women emerging as artists, subjects, patrons, and proponents of art in the Capitol, a development that began to emerge only in the second half of the nineteenth century.
The Rotunda, the Capitol's principal ceremonial space, was designed in part as an art museum of American history—at least the authorized version of it. It is explored in several of the essays, including discussions of the influence of the early-nineteenth-century Italian sculptors who provided the first sculptural reliefs for the room and the contributions of the mid-nineteenth-century Italian American artist Constantino Brumidi, to the mix of allegory, mythology, and history that permeates the space and indeed the Capitol itself.
In the early and mid-twentieth century, Chinese migrants evaded draconian anti-immigrant laws by entering the US under false papers that identified them as the sons of people who had returned to China to marry. Wayne Hung Wong tells the story of his life after emigrating to Wichita, Kansas, as a thirteen-year-old paper son. After working in his father’s restaurant as a teen, Wong served in an all-Chinese Air Force unit stationed in China during World War II. His account traces the impact of race and segregation on his service experience and follows his postwar life from finding a wife in Taishan through his involvement in the government’s amnesty program for Chinese immigrants and career in real estate. Throughout, Wong describes the realities of life as part of a small Chinese American community in a midwestern town.
Vivid and rich with poignant insights, American Paper Son explores twentieth-century Asian American history through one person’s experiences.
Through unnerving gallows humor and radical honesty, these poems redefine the American experience by asking the reader to consider what it means to live in the shadow of a perceived sense of freedom and to have faith when believing feels hopeless. Khalastchi's perspective as an Iraqi Jewish American brings sharp focus to the holistic uncertainties of religion, politics, assimilation, illness, love, and loss—with absurd, visceral, and wry acclaim.
the internet your high school
has the flu. We are sick
everyone is fine.
—Excerpt from "First Generation: Our Escape"
The nineteenth century was the heyday of furious contention between American political parties, and Joel Silbey has recaptured the drama and substance of those battles in a representative sampling of party pamphlets. Political parties mapped the landscape of electoral and ideological warfare, constructing images of themselves and of their adversaries that resonate and echo the basic characteristics of America’s then reigning sets of ideas. The nature of political controversy, as well as the substance of politics, is embedded in these party documents which both united and divided Americans. Unlike today’s party platforms, these pamphlets explicated real issues and gave insight into the society at large. Andrew Jackson’s Democrats, Millard Fillmore’s Whigs, Abraham Lincoln’s Republicans, and other, lesser-known parties are represented here. The pamphlets demonstrate how, for this fifty-year period, political parties were surrogates for American demands and values. Broad in scope, widely circulated, catalysts for heated debate over the decades, these pamphlets are important documents in the history of American politics.
In an excellent Introduction, Silbey teases out and elucidates the themes each party stressed and took as its own in its fight for the soul of the nation.
The nineteenth century was the heyday of furious contention between American political parties, and Joel Silbey has recaptured the drama and substance of those battles in a representative sampling of party pamphlets. Political parties mapped the landscape of electoral and ideological warfare, constructing images of themselves and of their adversaries that resonate and echo the basic characteristics of America’s then reigning sets of ideas. The nature of political controversy, as well as the substance of politics, is embedded in these party documents which both united and divided Americans. Unlike today’s party platforms, these pamphlets explicated real issues and gave insight into the society at large. Andrew Jackson’s Democrats, Millard Fillmore’s Whigs, Abraham Lincoln’s Republicans, and other, lesser-known parties are represented here. The pamphlets demonstrate how, for this fifty-year period, political parties were surrogates for American demands and values. Broad in scope, widely circulated, catalysts for heated debate over the decades, these pamphlets are important documents in the history of American politics.
In an excellent Introduction, Silbey teases out and elucidates the themes each party stressed and took as its own in its fight for the soul of the nation.
New England was built on letters. Its colonists left behind thousands of them, brittle and browning and crammed with curls of purplish script. How they were delivered, though, remains mysterious. We know surprisingly little about the way news and people traveled in early America. No postal service or newspapers existed—not until 1704 would readers be able to glean news from a “public print.” But there was, in early New England, an unseen world of travelers, rumors, movement, and letters. Unearthing that early American communications frontier, American Passage retells the story of English colonization as less orderly and more precarious than the quiet villages of popular imagination.
The English quest to control the northeast entailed a great struggle to control the flow of information. Even when it was meant solely for English eyes, news did not pass solely through English hands. Algonquian messengers carried letters along footpaths, and Dutch ships took them across waterways. Who could travel where, who controlled the routes winding through the woods, who dictated what news might be sent—in Katherine Grandjean’s hands, these questions reveal a new dimension of contest and conquest in the northeast. Gaining control of New England was not solely a matter of consuming territory, of transforming woods into farms. It also meant mastering the lines of communication.
The year 2005 marked the centennial of the founding of the United States Forest Service (USFS). Samuel P. Hays uses this occasion to present a cogent history of the role of American society in shaping the policies and actions of this agency.
From its establishment in 1905 under the auspices of the Department of Agriculture, timber and grazing management dominated the agency's agenda. Due to high consumer demand for wood products and meat from livestock, the USFS built a formidable system of forest managers, training procedures, and tree science programs to specifically address these needs. This strong internal organization bolstered the agency during the tumultuous years in the final one-third of the century—when citizens and scientists were openly critical of USFS policies—yet it restricted the agency's vision and adaptability on environmental issues. A dearth of ecological capabilities tormented the USFS in 1960 when the Multiple-Use and Sustained-Yield Act set new statutes for the preservation of wildlife, recreation, watershed, and aesthetic resources. This was followed by the National Forest Management Act of 1976, which established standards for the oversight of forest ecosystems. The USFS was ill equipped to handle the myriad administrative and technological complexities that these mandates required.
In The American People and the National Forests, Hays chronicles three distinct periods in USFS history, provides a summarizing “legacy” for each, and outlines the public and private interests, administrators, and laws that guided the agency's course and set its priorities. He demonstrates how these legacies affected successive eras, how they continue to influence USFS policy in the twenty-first century, and why USFS policies should matter to all of us.
"[This] book, as Bremner points out, is not encyclopedic. It is what he intended it to be, a pleasant narrative, seasoned with humorous comments, briefly but interestingly treating its principal persons and subjects. It should serve teacher and student as a springboard for further study of individuals, institutions and movements."—Karl De Schweinitz, American Historical Review
"[American Philanthropy] is the starting point for both casual readers and academic scholars. . . . a readable book, important beyond its diminutive size."—Richard Magat, Foundation News
Giovanna Borradori, in her substantial introduction, explains the history of the analytic movement in America and the home-grown reaction against it. In the late nineteenth and early twentieth centuries, American philosophy was a socially engaged interdisciplinary enterprise. In transcendentalism and pragmatism, then the dominant currents in American thought, philosophy was connected to history, psychology, and public issues. But in the 1930s, the imported European movement of logical positivism redefined philosophical discourse in terms of mathematical logic and theory of language. Under the influence of this analytic view, American philosophy became a professionalized discipline, divorced from public debate and intellectual history and antagonistic to the other, more humanistic tradition of continental thought.
The American Philosopher explores the opposition between analytic and continental thought and shows how recent American work has begun to bridge the gap between the two traditions. Through a reexamination of pragmatism, and through an attempt to understand philosophy in a more hermeneutical way, the participants narrow the distance between America's distinctly scientific philosophy and Europe's more literary approach.
Moving beyond classical analytic philosophy, the participants confront each other on a number of topics. The logico-linguistic orientations of Quine and Davidson come up against the more discursive, interdisciplinary agendas of Rorty, Putnam, and Cavell. Nozick's theory of pluralist anarchism goes face-to-face with the aesthetic neo-foundationalism of Danto. And Kuhn's hypothesis of paradigm shifts is measured against MacIntyre's ethics of "virtues."
Borradori's conversations offer an unconventional portrait of the way philosophers think about their work; scholars and students will not be its only beneficiaries, so will everyone who wonders about the current state of American philosophy.
In the first book-length study of Storer College, Dawne Raines Burke tells the story of the historically black institution from its Reconstruction origins to its demise in 1955. Established by Northern Baptists in the abolitionist flashpoint of Harpers Ferry, Storer was the first college open to African Americans in West Virginia, and it played a central role in regional and national history. In addition to educating generations of students of all races, genders, and creeds, Storer served as the second meeting place (and the first on U.S. soil) for the Niagara Movement, a precursor to the NAACP.
An American Phoenix provides a comprehensive and extensively illustrated history of this historically black college, bringing to life not just the institution but many of the individuals who taught or were educated there. It fills a significant gap in our knowledge of African American history and the struggle for rights in West Virginia and the wider world.
Photojournalism has long been the medium of urgency and social change. It has profoundly affected American public opinion, going back at least to Mathew Brady's images from the Civil War. In American Photojournalism: Motivations and Meanings, Claude Cookman explores the history and future of the medium through the work of such exemplary photojournalists as Jacob Riis, Dorothea Lange, Weegee, Margaret Bourke-White, W. Eugene Smith, Gordon Parks, Rich Clarkson, and Carol Guzy, among others. The traditional approach to studying American photojournalism explains the what and who of photojournalism--what events and developments occurred, what notable images were taken, and who took them. Without neglecting these concerns, American Photojournalism emphasizes the why. Cookman argues convincingly that contemporary photojournalism is grounded in the desire to witness and record history, and the embrace of a universal humanism. Unafraid to engage questions of truth and intentionality, American Photojournalism will only become more relevant as the medium evolves.
Tapia explores the implications of this argument for racialized productions of death and the maternal in the context of specific cultural moments: the commemoration of Princess Diana in U.S. magazines; the intertext of Toni Morrison’s and Hollywood’s Beloved; the social and cultural death in teen pregnancy, imaged and regulated in California’s Partnership for Responsible Parenting campaigns; and popular constructions of the “Widows of 9/11” in print and televisual journalism.
Taken together, these various visual media texts function in American Pietàs as cultural artifacts and as visual nodes in a larger network of racialized productions of maternal bodies in contexts of national death and remembering. To engage this network is to ask how and toward what end the racial project of the nation imbues some maternal bodies with resurrecting power and leaves others for dead. In the spaces between these different maternities, says Tapia, U.S. citizen-subjects are born—and reborn.
Chapters look at how theatre, film, and popular culture linked the Chinese immigrant and opium smoking; the early attacks on doctors for their part in the creation of addicts; the legislation of addiction as a criminal condition; the comic portrayals of addiction; the intersection of Black, jazz, and drug cultures through cabaret performance; and the linkage between narcotic inebriation and artistic inspiration. The American Pipe Dream creates active connections between these case studies, demonstrating how this history has influenced our contemporary understanding, treatment, and legislation of drug use and addiction.
Winner of the 1996 Dexter Prize from the Society for the History of Technology and a 1996 Choice Outstanding Academic Book
“A splendid history of plastic. The book is authoritative, thorough, interdisciplinary, and intriguing. . . [Meikle] traces the course of plastics from 19th–century celluloid and the fist wholly synthetic bakelite, in 1907, through the proliferation of compounds (vinyls, acrylics, polystyrene, nylon, etc.) and recent ecological concerns. . . .Interested readers of whatever predisposition will likely enjoy this comprehensive and thoughtful treatise.”—Publishers Weekly
“A landmark account. . . . He combines a first–rate technological history with a most impressive cultural analysis of how plastics evolved from a material surrounded by utopian expectations to a material epitomizing inferiority and eventually to a part of everyday life. . . . One of the most significant works ever written in the history of American technology and culture.”
—Nature
“[A] truly outstanding work . . . here is a work of intellectual strength written with great literary style. . . . This significant work is likely to be widely cited in academic circles, defining the field for a generation of readers. Don’t let it pass you by! An extraordinary contribution, for all levels of readers.”—Choice
“This is real interdisciplinary work, roaming in focus, adaptive in method.”—Journal of American History
“This scholarly and comprehensive work . . . is nontechnical and emphasizes the social and cultural impact of plastics. . . . Highly recommended for anyone with an interest in understanding contemporary society.”—Library Journal
As an increasingly popular genre of modern poetry, and one that permits a unique view of this century's dominant art form, the movie poem has needed an explanatory book like this one. As cinema and television continue to wield extraordinary influence over the lives of all Americans, the efforts of poets to understand the visual culture will come to be appreciated as central to the task of modern and postmodern literature. This critical history is an important and timely contribution to the study of American literature and American institutions.
"One of the impressive things about the book is that while pursuing the seemingly narrow category of poems-about-movies, Goldstein is able to raise and illuminate virtually all the key issues surrounding the poetry of the period." - Roger Gilbert, Cornell University
". . . a discerning book, combining criticism and social history. It satisfies scholarly standards while appealing to general readers." - Philip French, coeditor of the Faber Book of Movie Verse
"In this work, [Goldstein] provides a new way of looking at American poets, both familiar and neglected. The approach is chronological and thematic, and films are seen from black, gay, Jewish, and feminist as well as middle-class white perspectives." Library Journal
Laurence Goldstein is editor of the Michigan Quarterly Review and Professor of English, University of Michigan.
Writing from the forefront of American poetry criticism, contributors to this special issue address topics such as the poetics of disability and the work of clairvoyant poet Hannah Weiner, ambience and the work of Tan Lin, the continuing influence of Wallace Stevens, and the use of found text in Susan Howe’s “The Midnight.” Two younger critics address their generation’s poetics, one by considering the social relevance of the lyric and the other by examining resistance to innovative poetry practice. The intersection of poetry and technology is explored in articles about digital spaces and radical poetry’s relationship with the digital archive. One contributor applies the work of philosopher J. L. Austin to the language of hip-hop and the work of rapper Rakim. Also included are four short poems, a panegyric for the poetics of sophism in critical discourse, and essays that address the aesthetics of sentimental poetry and the poetics of place.
Challenging the common perception of poets as standing apart from the mainstream of American culture, Robert von Hallberg gives us a fresh and unpredictable assessment of the poetry that has come directly out of the American experience since 1945.
Who reads contemporary American poetry? More people than were reading new poetry in the 1920s, von Hallberg shows. How do poets respond to the public preoccupations of their readers? Often with fascination. Von Hallberg put the poems of Robert Creeley and John Ashbery together with the postwar outburst of systems analysis. The 1950s tourist poems of John Hollander, Adrienne Rich, W. S. Merwin, and James Merrill are treated as the cultural side of America’s postwar rise to global political power There are chapters on the political poems of the 1950s and 1960s, and on Robert Lowell’s sympathy for the imperialism of his liberal contemporaries. Poems of the 1970s on pop culture, especially Edward Dorn’s Slinger, and some from the suburbs of the 1980s, are shown to reflect a curious peace between the literary and the mass cultures.
Many people think of poetry as a hermetic art, as though poets wrote only about themselves or as if the subject of poetry were finally only poetry—its forms and traditions. Indeed much of what constitutes poetry in the lyric tradition depends on a stringently controlled point of view and aims for a timeless, intransitive utterance. Stephen Fredman’s study proposes a different perspective.
American Poetry as Transactional Art explores a salient quality of much avant-garde American poetry that has so far lacked sustained treatment: namely, its role as a transactional art. Specifically Fredman describes this role as the ways it consistently engages in conversation, talk, correspondence, going beyond the scope of its own subjects and forms—its existential interactions with the outside world. Poetry operating in this vein draws together images, ideas, practices, rituals, and verbal techniques from around the globe, and across time—not to equate them, but to establish dialogue, to invite as many guests as possible to the World Party, which Robert Duncan has called the “symposium of the whole.”
Fredman invites new readers into contemporary poetry by providing lucid and nuanced analyses of specific poems and specific interchanges between poets and their surroundings. He explores such topics as poetry’s transactions with spiritual traditions and practices over the course of the twentieth century; the impact of World War II on the poetry of Charles Olson and George Oppen; exchanges between poetry and other art forms including sculpture, performance art, and ambient music; the battle between poetry and prose in the early work of Paul Auster and in Lyn Hejinian’s My Life. The epilogue looks briefly at another crucial transactional occasion: teaching American poetry in the classroom in a way that demonstrates that it is at the center of the arts and at the heart of American culture.
"Tyler Hoffman brings a fresh perspective to the subject of performance poetry, and this comes at an excellent time, when there is such a vast interest across the country and around the world in the performance of poetry. He makes important connections, explaining things in a manner that remains provocative, interesting, and accessible."
---Jay Parini, Middlebury College
American Poetry in Performance: From Walt Whitman to Hip Hop is the first book to trace a comprehensive history of performance poetry in America, covering 150 years of literary history from Walt Whitman through the rap-meets-poetry scene. It reveals how the performance of poetry is bound up with the performance of identity and nationality in the modern period and carries its own shifting cultural politics. This book stands at the crossroads of the humanities and the social sciences; it is a book of literary and cultural criticism that deals squarely with issues of "performance," a concept that has attained great importance in the disciplines of anthropology and sociology and has generated its own distinct field of performance studies. American Poetry in Performance will be a meaningful contribution both to the field of American poetry studies and to the fields of cultural and performance studies, as it focuses on poetry that refuses the status of fixed aesthetic object and, in its variability, performs versions of race, class, gender, and sexuality both on and off the page.
Relating the performance of poetry to shifting political and cultural ideologies in the United States, Hoffman argues that the vocal aspect of public poetry possesses (or has been imagined to possess) the ability to help construct both national and subaltern communities. American Poetry in Performance explores public poets' confrontations with emergent sound recording and communications technologies as those confrontations shape their mythologies of the spoken word and their corresponding notions about America and Americanness.
American Poetry Now is a comprehensive collection of the best work from the renowned Pitt Poetry Series. Since its inception in 1967, the series has been a vehicle for America's finest contemporary poets. The series list includes Poet Laureate Billy Collins, Toi Derricotte, Denise Duhamel, Lynn Emanuel, Bob Hicok, Poet Laureate and Pulitzer Prize winner Ted Kooser, Larry Levis, Sharon Olds, Alicia Suskin Ostriker, Virgil Suárez, Afaa Michael Weaver, David Wojahn, Dean Young, and many others.
Throughout its forty-year history, the Pitt Poetry Series has provided a voice for the diversity that is American poetry, representing poets from many backgrounds without allegiance to any one school or style. American Poetry Now is a true representation of contemporary American poetry.
Ed Ochester, series editor for nearly thirty years, has assembled a quintessential selection-along with biographies and photos, an enlightening introduction, and a suggested list for further reading, all in a highly accessible format. American Poetry Now is a sweeping anthology that will delight poetry fans, students, teachers, and general readers alike.
Charles Lumpkins shows that black residents of East St. Louis had engaged in formal politics since the 1870s, exerting influence through the ballot and through patronage in a city dominated by powerful real estate interests even as many African Americans elsewhere experienced setbacks in exercising their political and economic rights.
While Lumpkins asserts that the race riots were a pogrom—an organized massacre of a particular ethnic group—orchestrated by certain businessmen intent on preventing black residents from attaining political power and on turning the city into a “sundown” town permanently cleared of African Americans, he also demonstrates how the African American community survived. He situates the activities of the black citizens of East St. Louis in the context of the larger story of the African American quest for freedom, citizenship, and equality.
Here is the most comprehensive and authoritative work to date on relationships between the economy and politics in the years from Eisenhower through Reagan. Extending and deepening his earlier work, which had major impact in both political science and economics, Douglas Hibbs traces the patterns in and sources of postwar growth, unemployment, and inflation. He identifies which groups “win” and “lose” from inflations and recessions. He also shows how voters’ perceptions and reactions to economic events affect the electoral fortunes of political parties and presidents.
Hibbs’s analyses demonstrate that political officials in a democratic society ignore the economic interests and demands of their constituents at their peril, because episodes of prosperity and austerity frequently have critical influence on voters’ behavior at the polls. The consequences of Eisenhower’s last recession, of Ford’s unwillingness to stimulate the economy, of Carter’s stalled recovery were electorally fatal, whereas Johnson’s, Nixon’s, and Reagan’s successes in presiding over rising employment and real incomes helped win elections.
The book develops a major theory of macroeconomic policy action that explains why priority is given to growth, unemployment, inflation, and income distribution shifts with changes in partisan control of the White House. The analysis shows how such policy priorities conform to the underlying economic interests and preferences of the governing party’s core political supporters. Throughout the study Hibbs is careful to take account of domestic institutional arrangements and international economic events that constrain domestic policy effectiveness and influence domestic economic outcomes.
Hibbs’s interdisciplinary approach yields more rigorous and more persuasive characterizations of the American political economy than either purely economic, apolitical analyses or purely partisan, politicized accounts. His book provides a useful benchmark for the advocacy of new policies for the 1990s—a handy volume for politicians and their staffs, as well as for students and teachers of politics and economics.
Social scientists and campaign strategists approach voting behavior from opposite poles. Reconciling these rival camps through a merger of precise statistics and hard-won election experience, The American Political Landscape presents a full-scale analysis of U.S. electoral politics over the past quarter-century. Byron Shafer and Richard Spady explain how factors not usually considered hard data, such as latent attitudes and personal preferences, interact to produce an indisputably solid result: the final tally of votes.
Pundits and pollsters usually boil down U.S. elections to a stark choice between Democrat and Republican. Shafer and Spady explore the significance of a third possibility: not voting at all. Voters can and do form coalitions based on specific issues, so that simple party identification does not determine voter turnout or ballot choices. Deploying a new method that quantifiably maps the distribution of political attitudes in the voting population, the authors describe an American electoral landscape in flux during the period from 1984 to 2008. The old order, organized by economic values, ceded ground to a new one in which cultural and economic values enjoy equal prominence.
This realignment yielded election outcomes that contradicted the prevailing wisdom about the importance of ideological centrism. Moderates have fared badly in recent contests as Republican and Democratic blocs have drifted further apart. Shafer and Spady find that persisting links between social backgrounds and political values tend to empty the ideological center while increasing the clout of the ideologically committed.
American Political Plays after 9/11 is a diverse collection of bold, urgent, and provocative plays that respond to the highly charged, post 9/11 political landscape. Sparked by the terrorist attacks of September 11, 2001, and subsequently fueled by a series of controversial events—the Iraq war, the passing and enforcement of the U.S.A. Patriot Act, and the revelation of torture and other scandals at the Abu Ghraib prison—American political theater is currently experiencing a surge in activity. The plays in this collection include The Guys by Anne Nelson, At the Vanishing Point by Naomi Iizuka, The Venus de Milo Is Armed by Kia Corthron, Back of the Throat by Yusseff El Guindi, Three Nights in Prague by Allan Havis, and Question 27, Question 28 by Chay Yew.
The characters range from a New York City fire captain trying to respectfully memorialize eight of his lost comrades, to the citizens of a hog-killing Louisville neighborhood who poignantly exemplify the underside of the economic crisis, to an Arab American citizen being harshly (and possibly unfairly) interrogated by two officers as a “person of interest.” Though not all of the plays deal explicitly with the Al Qaeda attacks, they collectively reveal themes of sorrow and anxiety, moral indignation, alarmist self-preservation, and economic and social insecurity stemming from the United States’ fairly sudden shift from cold war superpower to vulnerable target.
The lively introduction by Allan Havis includes a brief history of political theater in the United States, an extensive discussion about how theater communities responded to 9/11, and an informative analysis of the six plays in the book. A collection of dramatic material framed by this significant historical event, AmericanPolitical Plays after 9/11 will be indispensable for theater and cultural studies scholars and students.
The American Play by Suzan-Lori Parks features an Abraham Lincoln impersonator trapped in an outrageous, Beckett-like world, while Naomi Wallace's In the Heart of America centers on a Palestinian American from Atlanta who is caught up in the Persian Gulf conflict. Kokoro by Velina Hasu Houston chillingly depicts the stark predicament of a Japanese mother caught between two impossible worlds; Marisol by José Rivera reveals the dark fairytale life of a young Latin woman in a wartorn, apocalyptic New York. The Gift by Allan Havis confronts overwhelming moral ambiguity in the farcical realm of university politics, while Nixon's Nixon by Russell Lees offers an adroit treatment of the fascinating, tortured Nixon/Kissinger relationship. The collection closes with Mac Wellman's 7 Blowjobs, a wicked send-up of the compromise politics that determined the fate of the National Endowment for the Arts.
Taken together, these seven plays present an eclectic web of social thought and imagination that are uniquely American, offering the reader a splendid, honest study of a rich society in search of itself.
This stunningly persuasive book examines the persistent, radical gap between the promise of American ideals and the performance of American politics. Samuel P. Huntington shows how Americans, throughout their history as a nation, have been united by the democratic creed of liberty, equality, and hostility to authority. At the same time he reveals how, inevitably, these ideals have been perennially frustrated through the institutions and hierarchies required to carry on the essential functions of governing a democratic society.
From this antagonism between the ideals of democracy and the realities of power have risen four great political upheavals in American history. Every third generation, Huntington argues, Americans have tried to reconstruct their institutions to make them more truly reflect deeply rooted national ideals. Moving from the clenched fists and mass demonstrations of the 1960s, to the moral outrage of the Progressive and Jacksonian Eras, back to the creative ideological fervor of the American Revolution, he incisively analyzes the dissenters’ objectives. All, he pungently writes, sought to remove the fundamental disharmony between the reality of government in America and the ideals on which the American nation was founded.
Huntington predicts that the tension between ideals and institutions is likely to increase in this country in the future. And he reminds us that the fate of liberty and democracy abroad is intrinsically linked to the strength of our power in world affairs. This brilliant and controversial analysis deserves to rank alongside the works of Tocqueville, Bryce, and Hofstadter and will become a classic commentary on the meaning of America.
Between December 1953 and June 1954, the elite think-tank the Council on Foreign Relations (CFR) joined prominent figures in International Relations, including Pennsylvania’s Robert Strausz-Hupé, Yale’s Arnold Wolfers, the Rockefeller Foundation’s William Thompson, government adviser Dorothy Fosdick, and nuclear strategist William Kaufmann. They spent seven meetings assessing approaches to world politics—from the “realist” theory of Hans Morgenthau to theories of imperialism of Karl Marx and V.I. Lenin—to discern basic elements of a theory of international relations.
The study group’s materials are an indispensable window to the development of IR theory, illuminating the seeds of the theory-practice nexus in Cold War U.S. foreign policy. Historians of International Relations recently revised the standard narrative of the field’s origins, showing that IR witnessed a sharp turn to theoretical consideration of international politics beginning around 1950, and remained preoccupied with theory. Taking place in 1953–54, the CFR study group represents a vital snapshot of this shift.
This book situates the CFR study group in its historical and historiographical contexts, and offers a biographical analysis of the participants. It includes seven preparatory papers on diverse theoretical approaches, penned by former Berkeley political scientist George A. Lipsky, followed by the digest of discussions from the study group meetings. American Power and International Theory at the Council on Foreign Relations, 1953–54 offers new insights into the early development of IR as well as the thinking of prominent elites in the early years of the Cold War.
Paul D. Miller offers a tough minded critique of recent trends in American grand strategy. He rejects retrenchment but also the excesses of liberal internationalism. He prescribes a conservative internationalist grand strategy to preserve the American security and leadership in the world while avoiding overstretch.
Originally written before the 2016 US presidential election, this first paperback edition contains a new preface that repositions the book’s argument for the Trump era. Miller explains why President Trump’s nationalist vision for American grand strategy damages US interests and world order. Miller blends academic rigor with his experiences as former member of the National Security Council and intelligence community to offer prescriptions for US grand strategy. He advocates for narrowing regional priorities and focusing on five strategic objectives: balancing against the nuclear autocracies, championing liberalism to maintain a favorable balance of power, thwarting the transnational jihadist movement, investing in governance in weak and failed states, and strengthening homeland security.
This book is a must read for scholars and students of international affairs and for anyone who is concerned about America’s role in the world.
Focusing his account on the work of the movement's most important representatives—including Charles Beard, James Harvey Robinson, and Carl Becker—Ernst Breisach demonstrates that Progressive history is distinguished by its unique combination of beliefs in the objective reality of historical facts and its faith in the inevitability of the progress of the human race. And though he discusses at length Frederick Jackson Turner's contributions to the creation of a modern American historiography, Breisach sets him apart from the scholars who shaped Progressive history.
While Progressive history is usually treated in isolation from simultanieous movements in European historiography, Breisach shows how it was formulated in the face of the same cultural pressures confronting European historians. Indeed, it becomes clear that until the 1930s the Progressive historians' confidence in the validity of historical investigation and the progress of civilization shielded American historians from the skepticism and cultural pessimism which characterized many of their European contempories.
Breisach's exceptionally broad and subtle analysis reveals American Progressive history to be an important and innovative experiment in the international quest for a New History, as well as a coherent school of thought in its own right.
High-rise public housing developments were signature features of the post–World War II city. A hopeful experiment in providing temporary, inexpensive housing for all Americans, the "projects" soon became synonymous with the black urban poor, with isolation and overcrowding, with drugs, gang violence, and neglect. As the wrecking ball brings down some of these concrete monoliths, Sudhir Venkatesh seeks to reexamine public housing from the inside out, and to salvage its troubled legacy. Based on nearly a decade of fieldwork in Chicago's Robert Taylor Homes, American Project is the first comprehensive story of daily life in an American public housing complex.
Venkatesh draws on his relationships with tenants, gang members, police officers, and local organizations to offer an intimate portrait of an inner-city community that journalists and the public have only viewed from a distance. Challenging the conventional notion of public housing as a failure, this startling book re-creates tenants' thirty-year effort to build a safe and secure neighborhood: their political battles for services from an indifferent city bureaucracy, their daily confrontation with entrenched poverty, their painful decisions about whether to work with or against the street gangs whose drug dealing both sustained and imperiled their lives.
American Project explores the fundamental question of what makes a community viable. In his chronicle of tenants' political and personal struggles to create a decent place to live, Venkatesh brings us to the heart of the matter.
In this elegantly written book, John A. Byers argues that these mystifying behaviors evolved in response to the dangerous predators with whom pronghorn shared their grassland home for nearly four million years: among them fleet hyenas, lions, and cheetahs. Although these predators died out ten thousand years ago, pronghorn still behave as if they were present—as if they were living with the ghosts of predators past.
Byers's provocative hypothesis will stimulate behavioral ecologists and mammalogists to consider whether other species' adaptations are also haunted by selective pressures from predators past. The book will also find a ready audience among evolutionary biologists and paleontologists.
In America, we are eager to claim ownership: our homes, our ideas, our organs, even our own celebrity. But beneath our nation’s proprietary longing looms a troublesome question: what does it mean to own something? More simply: what is property?
The question is at the heart of many contemporary controversies, including disputes over who owns everything from genetic material to indigenous culture to music and film on the Internet. To decide if and when genes or culture or digits are a kind of property that can be possessed, we must grapple with the nature of property itself. How does it originate? What purposes does it serve? Is it a natural right or one created by law?
Accessible and mercifully free of legal jargon, American Property reveals the perpetual challenge of answering these questions, as new forms of property have emerged in response to technological and cultural change, and as ideas about the appropriate scope of government regulation have shifted. This first comprehensive history of property in the United States is a masterly guided tour through a contested human institution that touches all aspects of our lives and desires.
Stuart Banner shows that property exists to serve a broad set of purposes, constantly in flux, that render the idea of property itself inconstant. Despite our ideals of ownership, property has always been a means toward other ends. What property signifies and what property is, we come to see, has consistently changed to match the world we want to acquire.
The political meaning of prophetic language in America
Prophecy is the fundamental idiom of American politics—a biblical rhetoric about redeeming the crimes, suffering, and promise of a special people. Yet American prophecy and its great practitioners—from Frederick Douglass and Henry Thoreau to Martin Luther King, James Baldwin, and Toni Morrison—are rarely addressed, let alone analyzed, by political theorists. This paradox is at the heart of American Prophecy, a work in which George Shulman unpacks and critiques the political meaning of American prophetic rhetoric.
In the face of religious fundamentalisms that associate prophecy and redemption with dogmatism and domination, American Prophecy finds connections between prophetic language and democratic politics, particularly racial politics. Exploring how American critics of white supremacy have repeatedly reworked biblical prophecy, Shulman demonstrates how these writers and thinkers have transformed prophecy into a political language and given redemption a political meaning. To examine how antiracism is linked to prophecy as a vernacular idiom is to rethink political theology, recast democratic theory, and reassess the bearing of religion on American political culture. Still, prophetic language is not always liberatory, and American Prophecy maintains a critical dispassion about a rhetoric that is both prevalent and problematic.
Peter Richardson's absorbing and elegantly paced book reveals a figure thoroughly engaged with the issues of his time. Deftly interweaving correspondence, diary notes, published writings, and McWilliams's own and others' observations on a colorful and influential cast of characters from Hollywood, New York, Washington, DC, and the American West, Richardson maps the evolution of McWilliams's personal and professional life. Among those making an appearance are H. L. Mencken (McWilliams's mentor and role model), Louis Adamic, John Fante, Robert Towne, Richard Nixon, Studs Terkel, J. Edgar Hoover, Arthur Schlesinger, Jr., and Joseph McCarthy.
American Prophet illustrates the arc of McWilliams's life and career from his early literary journalism through his legal and political activism, his stint in state government, and his two decades as editor of the Nation. This book makes the case for McWilliams's place in the Olympian realm of our most influential and prescient political writers.
Peter Richardson is the editorial director at PoliPointPress in Sausalito, California. He is the author or editor of numerous works on language, literature, and California public policy. He holds a Ph.D. in English from the University of California Berkeley.
In this careful analysis and evaluation of the monumental influence of Niebuhr, Werpehowski traces four streams that flow from Niebuhr's theology, particularly as it deals with ethics. In a tightly knit and comprehensive investigation of the work of four contemporary ethicists, important in their own right, Paul Ramsey, Stanley Hauerwas, James Gustafson, and Kathryn Tanner, Werpehowski explores how the legacy of Niebuhr has made an impact on their thought and work. He presents a clear, concise, nuanced, analytical criticism of the development of the four ethicist's construction of ethics-and does it in a way that interweaves and puts the four into a dialogue and conversation with Niebuhr and each other.
Addressing a number of substantive issues, including the viability of just war tradition and the relationship between "church" and "world," American Protestant Ethics and the Legacy of H. Richard Niebuhr demonstrates that Christian ethics operates within a set of polar tensions and that such "conversations" as are developed within need to be a part of moral discourse inside and between a variety of communities of faith.
-From An American Provence
In this poetic personal narrative, Thomas P. Huber reflects on two seemingly unrelated places-the North Fork Valley in western Colorado and the Coulon River Valley in Provence, France-and finds a shared landscape and sense of place. What began as a simple comparison of two like places in distant locations turned into a more complex, interesting, and personal task. Much is similar-the light, the valleys, the climate, the agriculture. And much is less so-the history, the geology, the physical makeup of villages. Using a geographer's eye and passion for the land and people, Huber examines the regions' similarities and differences to explore the common emotional impact of each region. Part intimate travelogue and part case study of geography in the real world, An American Provence illuminates the importance sense of place plays in who we are.
The essays raise such issues as the education of civil servants, the changes necessitated by crises, the growth of social sciences in governmental concerns, and primarily, the role of public administrators in America. Each author is a distinguished expert in his own right, and each essay can stand alone as a remarkable insight into the changing world of public administration within American society. Frederick Mosher’s expertise and supervision shapes this work into a remarkable and holistic perspective on public administration over time.
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