front cover of Gentile New York
Gentile New York
The Images of Non-Jews among Jewish Immigrants
Ribak, Gil
Rutgers University Press, 2012

The very question of “what do Jews think about the goyim” has fascinated Jews and Gentiles, anti-Semites and philo-Semites alike. Much has been written about immigrant Jews in nineteenth- and twentieth-century New York City, but Gil Ribak’s critical look at the origins of Jewish liberalism in America provides a more complicated and nuanced picture of the Americanization process.

Gentile New York examines these newcomers’ evolving feelings toward non-Jews through four critical decades in the American Jewish experience. Ribak considers how they perceived Gentiles in general as well as such different groups as “Yankees” (a common term for WASPs in many Yiddish sources), Germans, Irish, Italians, Poles, and African Americans. As they discovered the complexity of America’s racial relations, the immigrants found themselves at odds with “white” American values or behavior and were drawn instead into cooperative relationships with other minorities. Sparked with many previously unknown anecdotes, quotations, and events, Ribak’s research relies on an impressive number of memoirs, autobiographies, novels, newspapers, and journals culled from both sides of the Atlantic.
 

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Glenway Wescott Personally
A Biography
Jerry Rosco
University of Wisconsin Press, 2002

As a writer, Glenway Wescott (1901–1987) left behind several novels, including The Grandmothers and The Pilgrim Hawk, noted for their remarkable lyricism. As a literary figure, Wescott also became a symbol of his times. Born on a Wisconsin farm in 1901, he associated as a young writer with Hemingway, Stein, and Fitzgerald in 1920s Paris and subsequently was a central figure in New York’s artistic and gay communities. Though he couldn’t finish a novel after the age of forty-five, he was just as famous as an arts impresario, as a diarist, and for the company he kept: W. H. Auden, Christopher Isherwood, Marianne Moore, Somerset Maugham, E. M. Forster, Joseph Campbell, and scores of other luminaries.
     In Glenway Wescott Personally, Jerry Rosco chronicles Wescott’s long and colorful life, his early fame and later struggles to write, the uniquely privileged and sometimes tortured world of artistic creation. Rosco sensitively and insightfully reveals Wescott’s private life, his long relationship with Museum of Modern Art curator Monroe Wheeler, his work with sex researcher Alfred Kinsey that led to breakthrough findings on homosexuality, and his kinship with such influential artists as Jean Cocteau, George Platt-Lynes, and Paul Cadmus.

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God in Gotham
The Miracle of Religion in Modern Manhattan
Jon Butler
Harvard University Press, 2020

A master historian traces the flourishing of organized religion in Manhattan between the 1880s and the 1960s, revealing how faith adapted and thrived in the supposed capital of American secularism.

In Gilded Age Manhattan, Catholic, Jewish, and Protestant leaders agonized over the fate of traditional religious practice amid chaotic and multiplying pluralism. Massive immigration, the anonymity of urban life, and modernity’s rationalism, bureaucratization, and professionalization seemingly eviscerated the sense of religious community.

Yet fears of religion’s demise were dramatically overblown. Jon Butler finds a spiritual hothouse in the supposed capital of American secularism. By the 1950s Manhattan was full of the sacred. Catholics, Jews, and Protestants peppered the borough with sanctuaries great and small. Manhattan became a center of religious publishing and broadcasting and was home to august spiritual reformers from Reinhold Niebuhr to Abraham Heschel, Dorothy Day, and Norman Vincent Peale. A host of white nontraditional groups met in midtown hotels, while black worshippers gathered in Harlem’s storefront churches. Though denied the ministry almost everywhere, women shaped the lived religion of congregations, founded missionary societies, and, in organizations such as the Zionist Hadassah, fused spirituality and political activism. And after 1945, when Manhattan’s young families rushed to New Jersey and Long Island’s booming suburbs, they recreated the religious institutions that had shaped their youth.

God in Gotham portrays a city where people of faith engaged modernity rather than foundered in it. Far from the world of “disenchantment” that sociologist Max Weber bemoaned, modern Manhattan actually birthed an urban spiritual landscape of unparalleled breadth, suggesting that modernity enabled rather than crippled religion in America well into the 1960s.

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God In The Street
New York Writing from The Penny Press to Melville
Hans Bergmann
Temple University Press, 1995

In the fast changing culture of antebellum New York, writers of every stripe celebrated "the City" as a stage for the daily urban encounter between the familiar and the inexplicable. Probing into these richly varied texts, Hans Bergmann uncovers the innovations in writing that accompanied the new market society— the penny newspapers' grandiose boastings, the poetic catalogues of Walt Whitman, the sentimental realism of charity workers, the sensationalism of slum visitors, and the complex urban encounters of Herman Melville's fiction.

The period in which New York, the city itself, became firmly established as a subject invented a literary form that attempts to capture the variety of the teeming city and the flaneur, the walking observer. But Bergmann does not simply lead a parade of images and themes; he explores the ways in which these observers understood what was happening around them and to them, always attentive to class struggle and race and gender issues.

God in the Street shows how the penny press and Whitman's New York poetry create a new mass culture hero who interprets and dignifies the city's confusions. New York writers, both serious and sensationalist, meditate upon street encounters with tricksters and confidence-men and explore the meanings of encounters. Melville's "Bartleby, the Scrinever" underlines the unrelenting isolation and inability to control the interpreter. Bergmann reinterprets Melville's The Confidence Man as an example of how a complex literary form arises directly from its own historical materials and is itself socially symbolic. Bergmann sees Melville as special because he recognizes his inability to make sense of the surface of chaotic images and encounters. In mid-century New York City, Melville believes God is in the street, unavailable and unrecognizable, rather than omnipresent and guiding.

 
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The Grand Gennaro
Belluscio, Steven
Rutgers University Press, 2009
An illiterate Calabrian in southern Italy owes money to his church and mayor. He skips town for the bustling streets of New York. Meeting an old friend, a fellow immigrant, he thanks him for help getting settled, and then steals his money. With a new parcel of wealth, he materializes from a small-time laborer into a big-time entrepreneur, soon becoming the tyrant of the local Italian American community. By pluck, luck, and unscrupulous business practices, this cunning character "makes America." There are riches, pleasure, and the beautiful Carmela. Then trouble. Comeuppance. Ambush. Revenge.Twenty-first century popular culture? Not at all.

The Grand Gennaro, a riveting saga set at the turn of the last century in Italian American Harlem, reflects on how youthful acts of cruelty and desperation follow many to the grave. A classic in the truest sense, this operatic narrative is alive once again, addressing the question: How does one become an "American"?

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The Great Disappearing Act
Germans in New York City, 1880-1930
Christina A. Ziegler-McPherson
Rutgers University Press, 2022
Where did all the Germans go? How does a community of several hundred thousand people become invisible within a generation?

This study examines these questions in relation to the German immigrant community in New York City between 1880-1930, and seeks to understand how German-American New Yorkers assimilated into the larger American society in the early twentieth century.
By the turn of the twentieth century, New York City was one of the largest German-speaking cities in the world and was home to the largest German community in the United States. This community was socio-economically diverse and increasingly geographically dispersed, as upwardly mobile second and third generation German Americans began moving out of the Lower East Side, the location of America’s first Kleindeutschland (Little Germany), uptown to Yorkville and other neighborhoods. New York’s German American community was already in transition, geographically, socio-economically, and culturally, when the anti-German/One Hundred Percent Americanism of World War I erupted in 1917.

This book examines the structure of New York City’s German community in terms of its maturity, geographic dispersal from the Lower East Side to other neighborhoods, and its ultimate assimilation to the point of invisibility in the 1920s. It argues that when confronted with the anti-German feelings of World War I, German immigrants and German Americans hid their culture – especially their language and their institutions – behind closed doors and sought to make themselves invisible while still existing as a German community.
But becoming invisible did not mean being absorbed into an Anglo-American English-speaking culture and society. Instead, German Americans adopted visible behaviors of a new, more pluralistic American culture that they themselves had helped to create, although by no means dominated. Just as the meaning of “German” changed in this period, so did the meaning of “American” change as well, due to nearly 100 years of German immigration.
 
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