front cover of The Other Americans in Paris
The Other Americans in Paris
Businessmen, Countesses, Wayward Youth, 1880-1941
Nancy L. Green
University of Chicago Press, 2014
While Gertrude Stein hosted the literati of the Left Bank, Mrs. Bates-Batcheller, an American socialite and concert singer in Paris, held sumptuous receptions for the Daughters of the American Revolution in her suburban villa. History may remember the American artists, writers, and musicians of the Left Bank best, but the reality is that there were many more American businessmen, socialites, manufacturers’ representatives, and lawyers living on the other side of the River Seine.  Be they newly minted American countesses married to foreigners with impressive titles or American soldiers who had settled in France after World War I with their French wives, they provide a new view of the notion of expatriates.

Nancy L. Green thus introduces us for the first time to a long-forgotten part of the American overseas population—predecessors to today’s expats—while exploring the politics of citizenship and the business relationships, love lives, and wealth (and poverty for some) of Americans who staked their claim to the City of Light. The Other Americans in Paris shows that elite migration is a part of migration tout court and that debates over “Americanization” have deep roots in the twentieth century.
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Other Americans
The Art of Latin America in the US Imaginary
Matthew Bush
University of Pittsburgh Press, 2022

Grounded in perspectives of affect theory, Other Americans examines the writings of Roberto Bolaño and Daniel Alarcón; films by Alfonso Cuarón, Claudia Llosa, Matt Piedmont, and Joel and Ethan Coen; as well as the Netflix serials Narcos and El marginal. These widely consumed works about Latin America—equally balanced between narratives produced in the United States and in the region itself—are laden with fear, anxiety, and shame, which has an impact that exceeds the experience of reception. The negative feelings encoded in visions of Latin America become common coinage for US audiences, shaping their ideological relationship with the region and performing an affective interpellation. By analyzing the underlying melodramatic structures of these works that would portray Latin America as an implicit other, Bush examines a process of affective comprehension that foments an us/them, or north/south binary in the reception of Latin America’s globalized art.

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