The first-ever graphic biography of Paul Robeson, Ballad of an American, charts Robeson’s career as a singer, actor, scholar, athlete, and activist who achieved global fame. Through his films, concerts, and records, he became a potent symbol representing the promise of a multicultural, multiracial American democracy at a time when, despite his stardom, he was denied personal access to his many audiences.
Robeson was a major figure in the rise of anti-colonialism in Africa and elsewhere, and a tireless campaigner for internationalism, peace, and human rights. Later in life, he embraced the civil rights and antiwar movements with the hope that new generations would attain his ideals of a peaceful and abundant world. Ballad of an American features beautifully drawn chapters by artist Sharon Rudahl, a compelling narrative about his life, and an afterword on the lasting impact of Robeson’s work in both the arts and politics. This graphic biography will enable all kinds of readers—especially newer generations who may be unfamiliar with him—to understand his life’s story and everlasting global significance.
Ballad of an American: A Graphic Biography of Paul Robeson is published in conjunction with Rutgers University’s centennial commemoration of Robeson’s 1919 graduation from the university.
Study guide for Ballad of an American: A Graphic Biography of Paul Robeson (https://d3tto5i5w9ogdd.cloudfront.net/wp-content/uploads/2021/05/10201015/YA_Adult-Study-Guide-for-A-Graphic-Biography-of-Paul-Robeson.pdf).
View the blad for Ballad of an American.
The Soviet agronomist Trofim Lysenko became one of the most notorious figures in twentieth-century science after his genetic theories were discredited decades ago. Yet some scientists, even in the West, now claim that discoveries in the field of epigenetics prove that he was right after all. Seeking to get to the bottom of Lysenko’s rehabilitation in certain Russian scientific circles, Loren Graham reopens the case, granting his theories an impartial hearing to determine whether new developments in molecular biology validate his claims.
In the 1930s Lysenko advanced a “theory of nutrients” to explain plant development, basing his insights on experiments which, he claimed, showed one could manipulate environmental conditions such as temperature to convert a winter wheat variety into a spring variety. He considered the inheritance of acquired characteristics—which he called the “internalization of environmental conditions”—the primary mechanism of heredity. Although his methods were slipshod and his results were never duplicated, his ideas fell on fertile ground during a time of widespread famine in the Soviet Union.
Recently, a hypothesis called epigenetic transgenerational inheritance has suggested that acquired characteristics may indeed occasionally be passed on to offspring. Some biologists dispute the evidence for this hypothesis. Loren Graham examines these arguments, both in Russia and the West, and shows how, in Russia, political currents are particularly significant in affecting the debates.
Actor and singer Paul Robeson's performances in Othello, Show Boat, and The Emperor Jones made him famous, but his midcentury appearances in support of causes ranging from labor and civil rights to antilynching and American warmongering made him notorious. When Robeson announced at the 1949 Paris Peace Conference that it was "unthinkable" for blacks to go to war against the Soviet Union, the mainstream American press declared him insane.
Notions of Communism, blackness, and insanity were interchangeably deployed during the Cold War to discount activism such as Robeson's, just a part of an array of social and cultural practices that author Tony Perucci calls the Cold War performance complex. Focusing on two key Robeson performances---the concerts in Peekskill, New York, in 1949 and his appearance before the House Committee on Un-American Activities in 1956---Perucci demonstrates how these performances and the government's response to them are central to understanding the history of Cold War culture in the United States. His book provides a transformative new perspective on how the struggle over the politics of performance in the 1950s was also a domestic struggle over freedom and equality. The book closely examines both of these performance events as well as artifacts from Cold War culture---including congressional documents, FBI files, foreign policy papers, the popular literature on mental illness, and government propaganda films---to study the operation of power and activism in American Cold War culture.
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