An unstructured genre that blends high aesthetic standards with nonfiction commentary, the journalistic crónica, or chronicle, has played a vital role in Latin American urban life since the nineteenth century. Drawing on extensive archival research, Viviane Mahieux delivers new testimony on how chroniclers engaged with modernity in Mexico City, Buenos Aires, and São Paulo during the 1920s and 1930s, a time when avant-garde movements transformed writers' and readers' conceptions of literature. Urban Chroniclers in Modern Latin America: The Shared Intimacy of Everyday Life examines the work of extraordinary raconteurs Salvador Novo, Cube Bonifant, Roberto Arlt, Alfonsina Storni, and Mário de Andrade, restoring the original newspaper contexts in which their articles first emerged.
Each of these writers guided their readers through a constantly changing cityscape and advised them on matters of cultural taste, using their ties to journalism and their participation in urban practice to share accessible wisdom and establish their role as intellectual arbiters. The intimate ties they developed with their audience fostered a permeable concept of literature that would pave the way for overtly politically engaged chroniclers of the 1960s and 1970s. Providing comparative analysis as well as reflection on the evolution of this important genre, Urban Chroniclers in Modern Latin America is the first systematic study of the Latin American writers who forged a new reading public in the early twentieth century.
Across the country, white ethnics have fled cities for suburbs. But many have stayed in their old neighborhoods. When the busing crisis erupted in Boston in the 1970s, Catholics were in the forefront of resistance. Jews, 70,000 of whom had lived in Roxbury and Dorchester in the early 1950s, were invisible during the crisis. They were silent because they departed the city more quickly and more thoroughly than Boston's Catholics. Only scattered Jews remained in Dorchester and Roxbury by the mid-1970s.
In telling the story of why the Jews left and the Catholics stayed, Gerald Gamm places neighborhood institutions--churches, synagogues, community centers, schools--at its center. He challenges the long-held assumption that bankers and real estate agents were responsible for the rapid Jewish exodus. Rather, according to Gamm, basic institutional rules explain the strength of Catholic attachments to neighborhood and the weakness of Jewish attachments. Because they are rooted, territorially defined, and hierarchical, parishes have frustrated the urban exodus of Catholic families. And because their survival was predicated on their portability and autonomy, Jewish institutions exacerbated the Jewish exodus.
Gamm shows that the dramatic transformation of urban neighborhoods began not in the 1950s or 1960s, but in the 1920s. Not since Anthony Lukas's Common Ground has there been a book that so brilliantly explores not just Boston's dilemma but the roots of the American urban crisis.
A cultural history of the South Bronx that reaches beyond familiar narratives of urban ruin and renaissance, beyond the “inner city” symbol, to reveal the place and people obscured by its myths.
For decades, the South Bronx was America’s “inner city.” Synonymous with civic neglect, crime, and metropolitan decay, the Bronx became the preeminent symbol used to proclaim the failings of urban places and the communities of color who lived in them. Images of its ruins—none more infamous than the one broadcast live during the 1977 World Series: a building burning near Yankee Stadium—proclaimed the failures of urbanism.
Yet this same South Bronx produced hip hop, arguably the most powerful artistic and cultural innovation of the past fifty years. Two narratives—urban crisis and cultural renaissance—have dominated understandings of the Bronx and other urban environments. Today, as gentrification transforms American cities economically and demographically, the twin narratives structure our thinking about urban life.
A Bronx native, Peter L’Official draws on literature and the visual arts to recapture the history, people, and place beyond its myths and legends. Both fact and symbol, the Bronx was not a decades-long funeral pyre, nor was hip hop its lone cultural contribution. L’Official juxtaposes the artist Gordon Matta-Clark’s carvings of abandoned buildings with the city’s trompe l’oeil decals program; examines the centrality of the Bronx’s infamous Charlotte Street to two Hollywood films; offers original readings of novels by Don DeLillo and Tom Wolfe; and charts the emergence of a “global Bronx” as graffiti was brought into galleries and exhibited internationally, promoting a symbolic Bronx abroad.
Urban Legends presents a new cultural history of what it meant to live, work, and create in the Bronx.
Why, Diane Davis asks, has Mexico City, once known as the city of palaces, turned into a sea of people, poverty, and pollution? Through historical analysis of Mexico City, Davis identifies political actors responsible for the uncontrolled industrialization of Mexico's economic and social center, its capital city. This narrative biography takes a perspective rarely found in studies of third-world urban development: Davis demonstrates how and why local politics can run counter to rational politics, yet become enmeshed, spawning ineffective policies that are detrimental to the city and the nation.
The competing social and economic demand of the working poor and middle classes and the desires of Mexico's ruling Partido Revolucionario Institutional (PRI) have led to gravely diminished services, exorbitant infrastructural expenditures, and counter-productive use of geographic space. Though Mexico City's urban transport system has evolved over the past seven decades from trolley to bus to METRO (subway), it fails to meet the needs of the population, despite its costliness, and is indicative of the city's disastrous and ill-directed overdevelopment. Examining the political forces behind the thwarted attempts to provide transportation in the downtown and sprawling outer residential areas, Davis analyzes the maneuverings of local and national politicians, foreign investors, middle classes, agency bureaucrats, and various factions of the PRI.
Looking to Mexico's future, Davis concludes that growing popular dissatisfaction and frequent urban protests demanding both democratic reform and administrative autonomy in the capital city suggest an unstable future for corporatist politics and the PRI's centralized one-party government.
Were the urbane, avant-garde poets of the New York School secretly nature lovers like Edward Abbey, Wendell Berry, and Annie Dillard? In Urban Pastoral, Timothy Gray urges us to reconsider our long-held appraisals of Frank O’Hara, John Ashbery, Barbara Guest, and their peers as celebrants of cosmopolitan culture and to think of their more pastoral impulses. As Gray argues, flowers are more beautiful in the New York School’s garden of verse because no one expects them to bloom there.
Along with the poets whose careers he chronicles, Gray shows us that startlingly new approaches to New York City art and literature emerge when natural and artificial elements collide kaleidoscopically, as when O’Hara likens blinking stars to a hairnet, when painter Jane Freilicher places a jar of irises in her studio window to mirror purple plumes rising from Consolidated Edison smokestacks, or when poet Kathleen Norris equates rooftop water towers with grain silos as she plans her escape route to the Great Plains.
The New York School poets and their coterie have become a staple of poetics, literary criticism and biography, cultural studies, and art criticism, but Urban Pastoral is the first study of the original New York School poets to offer sustained discussion of the pastoral and natural imagery within the work of these renowned “city poets” and also consider poets from the second generation of the New York School—Diane di Prima, Jim Carroll, and Kathleen Norris.
Moving beyond the traditional boundaries of literary criticism to embrace the creative spirit of New York poets and artists, Gray’s accessible, lively, and blithely experimental book will shape future discussions of contemporary urban literature and literary nature writing, offering new evidence of avant-garde poetry’s role within those realms.
“This book is well written and meticulously documented; it will add significantly to the available literature on West Virginia’s industrial and community history. It should find a receptive audience among college and post- graduate scholars of industrial and labor history, West Virginia history, and Appalachian studies.”
—John Lilly, editor, Goldenseal
The company owned the houses. It owned the stores. It provided medical and governmental
services. It provided practically all the jobs. Gary, West Virginia, a coal mining town in the southern part of the state, was a creation of U.S. Steel. And while the workers were not formally bound to the company, their fortunes—like that of their community—were inextricably tied to the success of U.S. Steel.
Gary developed in the early twentieth century as U.S. Steel sought a new supply of raw material for its industrial operations. The rich Pocahontas coal field in remote southern West Virginia provided the carbon-rich, low-sulfur coal the company required. To house the thousands of workers it would import to mine that coal bed, U.S. Steel carved a town out of the mountain wilderness. The company was the sole reason for its existence.
In this fascinating book, Ronald Garay tells the story of how industry-altering decisions made by U.S. Steel executives reverberated in the hollows of Appalachia. From the area’s industrial revolution in the early twentieth century to the peak of steel-making activity in the 1940s to the industry’s decline in the 1970s, U.S. Steel and Gary, West Virginia offers an illuminating example of how coal and steel paternalism shaped the eastern mountain region and the limited ways communities and their economies evolve. In telling the story of Gary, this volume freshly illuminates the stories of other mining towns throughout Appalachia.
At once a work of passionate journalism and a cogent analysis of economic development in Appalachia, this work is a significant contribution to the scholarship on U.S. business history, labor history, and Appalachian studies.
Ronald Garay, a professor emeritus of mass communication at Louisiana State University,
is the author of Gordon McLendon: The Maverick of Radio and The Manship School: A History of Journalism Education at LSU.
In 1911, Joseph Bailie, a professor at Nanjing University, often took his Chinese students to tour Nanjing's shantytowns. One student, the son of a district magistrate, followed Bailie from hut to hut one rainy day, and was grateful that Bailie opened his eyes to the poverty in his own city.
However, twenty years later, when M. R. Schafer, another Nanjing University professor, showed his students a film that included his own photographs of the poor quarters of Nanjing, his students were so upset that they demanded his expulsion from China.
Zwia Lipkin explores the reasons for these starkly different reactions. Nanjing in the 1910s was a quiet city compared to 1930s Nanjing, which was by that time the national capital. Nanjing had become a symbol of national authority, aiming not only to become a model of modernization for the rest of China, but also to surpass Paris, London, and Washington. Underlying all of Nanjing's policies was a concern for the capital's image and looks—offensive people were allowed to exist as long as they remained invisible.
Lipkin exposes both the process of social engineering and the ways in which the suppressed reacted to their abuse. Like Professor Schafer's movie, this book puts the poor at the center of the picture, defying efforts to make them invisible.
How have modern Jews appropriated traditional aspects of their culture and religion to sustain them in the modern world? Twenty-one distinguished scholars address this question by drawing on a range of disciplines: social and cultural history, ethnography, folklore, sociology, educational theory, and rabbinics. They examine Jewish communities from Russia to North Africa, from Israel to the United States. Among the subjects they explore are Jewish art, holiday practices, feminist ceremonies, adult education, and religious movements in Israel.
The Uses of Tradition demonstrates the persistence of tradition and the limits to continuity. It asks: How extensively can tradition be reinterpreted before it is subverted? At what point is creative reinvention an act of betrayal? How effectively can selective borrowing from tradition sustain a religious community?
The turn of the last century, amid the excesses of the Gilded Age, variety became a key notion for Americans—a sign of national progress and development, reassurance that the modern nation would not fall into monotonous dullness or disorderly chaos. Carrie Tirado Bramen pursues this idea through the works of a wide range of regional and cosmopolitan writers, journalists, theologians, and politicians who rewrote the narrative of American exceptionalism through a celebration of variety. Exploring cultural and institutional spheres ranging from intra-urban walking tours in popular magazines to the 1893 World's Parliament of Religions in Chicago, she shows how the rhetoric of variety became naturalized and nationalized as quintessentially American and inherently democratic. By focusing on the uses of the term in the work of William James, Anna Julia Cooper, W. E. B. Du Bois, Hamlin Garland, and Wong Chin Foo, among many others, Bramen reveals how the perceived innocence and goodness of variety were used to construct contradictory and mutually exclusive visions of modern Americanism.
Bramen's innovation is to look at the debates of a century ago that established diversity as the distinctive feature of U.S. culture. In the late-nineteenth-century conception, which emphasized the openness of variety while at the same time acknowledging its limits, she finds a useful corrective to the contemporary tendency to celebrate the United States as a postmodern melange or a carnivalesque utopia of hybridity and difference.
The twentieth could easily be Utah’s most interesting, complex century, yet popular ideas of what is history seem mired in the nineteenth. One reason may be the lack of readily available writing on more recent Utah history. This collection of essays shifts historical focus forward to the twentieth, which began and ended with questions of Utah’s fit with the rest of the nation. In between was an extended period of getting acquainted in an uneasy but necessary marriage, which was complicated by the push of economic development and pull of traditional culture, demand for natural resources from a fragile and scenic environment, and questions of who governs and how, who gets a vote, and who controls what is done on and to the contested public lands. Outside trade and a tourist economy increasingly challenged and fed an insular society. Activists left and right declaimed constitutional liberties while Utah’s Native Americans become the last enfranchised in the nation. Proud contributions to national wars contrasted with denial of deep dependence on federal money; the skepticism of provocative writers, with boosters eager for growth; and reflexive patriotism somehow bonded to ingrained distrust of federal government.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press