No story of World War II is more triumphant than the liberation of France, made famous in countless photos of Parisians waving American flags and kissing GIs as columns of troops paraded down the Champs Élysées. But one of the least-known stories from that era is also one of the ugliest chapters in the history of Jim Crow. In The Interpreter, celebrated author Alice Kaplan recovers this story both as eyewitnesses first saw it, and as it still haunts us today.
The American Army executed 70 of its own soldiers between 1943 and 1946—almost all of them black, in an army that was overwhelmingly white. Through the French interpreter Louis Guilloux’s eyes, Kaplan narrates two different trials: one of a white officer, one of a black soldier, both accused of murder. Both were court-martialed in the same room, yet the outcomes could not have been more different.
Kaplan’s insight into character and setting creates an indelible portrait of war, race relations, and the dangers of capital punishment.
“A nuanced historical account that resonates with today’s controversies over race and capital punishment.” Publishers Weekly
“American racism could become deadly for black soldiers on the front. The Interpreter reminds us of this sad component of a heroic chapter in American military history.” Los Angeles Times
“With elegance and lucidity, Kaplan revisits these two trials and reveals an appallingly separate and unequal wartime U.S. military justice system.” Minneapolis Star Tribune
“Kaplan has produced a compelling look at the racial disparities as they were played out…She explores both cases in considerable and vivid detail.” Sacramento Bee
Rediscovering Mordecai Gorelik explores the life and work of the pioneering scene designer whose career spanned decades in American theatre. Anne Fletcher’s insightful volume draws intriguing parallels and contrasts between Gorelik’s productions and the theatrical movements of the twentieth century, exposing the indelible mark he left on the stage. Through in-depth analysis of his letters, diaries, designs, and theoretical works, Fletcher examines the ways in which Gorelik’s productions can be used as a mirror to reflect the shifting dramatic landscapes of his times.
Fletcher places Gorelik against the colorful historical backdrops that surrounded him—including the avant-garde movement of the 1920s, World War II, the Cold War, and absurdism—using the designer’s career as a window into the theatre during these eras. Within these cultural contexts, Gorelik sought to blaze his own unconventional path through the realms of theatre and theory. Fletcher traces Gorelik’s tenures with such companies as the Provincetown Players, the Theatre Guild, and the Theatre Union, as well as his relationships with icons such as Bertolt Brecht, revealing how his interactions with others influenced his progressive designs and thus set the stage for major dramatic innovations. In particular, Fletcher explores Gorelik’s use of scenic metaphor: the employment of stage design techniques to subtly enhance the tone or mood of a production. Fletcher also details the designer’s written contributions to criticism and theory, including the influential volume New Theatres for Old, as well as other articles and publications.
In addition to thorough examinations of several of Gorelik’s most famous projects, Rediscovering Mordecai Gorelik contains explications of productions by such legends as John Howard Lawson, Clifford Odets, and Arthur Miller. Also included are numerous full-color and black-and-white illustrations of Gorelik’s work, most of which have never been available to the public until now. More than simply a portrait of one man, this indispensable volume is a cultural history of American theatre as seen through the career of a visionary designer and theoretician.
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