Anti-Imperialist Modernism excavates how U.S. cross-border, multi-ethnic anti-imperialist movements at mid-century shaped what we understand as cultural modernism and the historical period of the Great Depression. The book demonstrates how U.S. multiethnic cultural movements, located in political parties, small journals, labor unions, and struggles for racial liberation, helped construct a common sense of international solidarity that critiqued ideas of nationalism and essentialized racial identity. The book thus moves beyond accounts that have tended to view the pre-war “Popular Front” through tropes of national belonging or an abandonment of the cosmopolitanism of previous decades. Impressive archival research brings to light the ways in which a transnational vision of modernism and modernity was fashioned through anti-colonial networks of North/South solidarity. Chapters examine farmworker photographers in California’s central valley, a Nez Perce intellectual traveling to the Soviet Union, imaginations of the Haitian Revolution, the memory of the U.S.–Mexico War, and U.S. radical writers traveling to Cuba. The last chapter examines how the Cold War foreclosed these movements within a nationalist framework, when activists and intellectuals had to suppress the transnational nature of their movements, often rewriting the cultural past to conform to a patriotic narrative of national belonging.
I See Foundations Shaking" explores how African-American, Native American, Chicano/a, and working-class writers and filmmakers during the Great Depression engaged in transnational modernist movement that stretched from the late 1920s to the start of the Cold War. My dissertation suggests that the 1930s witnessed an alternative internationalist moment, replacing an aesthetic of expatriation that focused on Europe with a southward-looking transnational vision of multiethnic solidarity. Writers who embraced this "transnational modernism" viewed the Americas as a new source of inspiration, with Mexico City and Havana as centers of intellectual production and experimentation. As a project of cultural recovery, I rely extensively on archival material, including unpublished work by Clifford Odets; farm labor and literary journals from California such as UCAPAWA News, The Agricultural Worker, Lucha Obrera ; Carlos Bulosan's The New Tide ; and D'Arcy McNickle's papers at the Newberry Center. Posing Depression-era culture as a transnational modernism frames the decade within a larger debate about modernism, rethinking the way basic aesthetic and political categories are implicated within discourses of nationalism. As Langston Hughes wrote in 1938 looking from Republican Spain to the shores of Africa, "foundations were shaking" all over the world at the possibilities of socialism and de-colonization. Considering that transnational moment - an African-American poet reporting on the International Brigades in Spain while metaphorically gazing off to Africa - needs to be reclaimed as a key "foundation" in the history of U.S. cultural and modernist practice.
Anti-Imperialist Modernism excavates how U.S. cross-border, multi-ethnic anti-imperialist movements at mid-century shaped what we understand as cultural modernism and the historical period of the Great Depression. The book demonstrates how U.S. multiethnic cultural movements, located in political parties, small journals, labor unions, and struggles for racial liberation, helped construct a common sense of international solidarity that critiqued ideas of nationalism and essentialized racial identity. The book thus moves beyond accounts that have tended to view the pre-war “Popular Front” through tropes of national belonging or an abandonment of the cosmopolitanism of previous decades. Impressive archival research brings to light the ways in which a transnational vision of modernism and modernity was fashioned through anti-colonial networks of North/South solidarity. Chapters examine farmworker photographers in California’s central valley, a Nez Perce intellectual traveling to the Soviet Union, imaginations of the Haitian Revolution, the memory of the U.S.–Mexico War, and U.S. radical writers traveling to Cuba. The last chapter examines how the Cold War foreclosed these movements within a nationalist framework, when activists and intellectuals had to suppress the transnational nature of their movements, often rewriting the cultural past to conform to a patriotic narrative of national belonging.
In 1958, mankind's centuries-long flirtation with space flight became a torrid love affair. For a decade, tens of millions of people were enraptured -- first, by the U.S.-Soviet race to the moon, and finally, as America outstripped its rival, by Project Apollo alone. It is now more than three decades since the last man walked on the moon...more time than between the first moonwalk and the beginning of World War II. Apollo did not, as had been promised by a generation of visionaries, herald the beginning of the Space Age, but its end. Or did it? Project Apollo, like a cannonball, reached its apogee and returned to earth, but the trajectory of that return was complex. America's atmosphere -- its economic, scientific, and cultural atmosphere -- made for a very complicated reentry that produced many solutions to the trajectory problem. Rocket Dreams is about those solutions...about the places where the space program landed. In Rocket Dreams, an extraordinarily talented young writer named Marina Benjamin will take you on a journey to those landing sites. A visit with retired astronauts at a celebrity autograph show is a starting point down the divergent paths taken by the pioneers, including Edgar Mitchell, founder of the "church" of Noëtic Sciences. Roswell, New Mexico is a landing site of a different order, the "magnetic north" of UFO belief in the United States -- a belief that began its most dramatic growth precisely at the time that the path of the space program began its descent. In the vernacular, the third law of motion states that what goes up, must come down. Thus the tremendous motive force that energized the space program didn't just vanish; it was conserved and transformed, making bestsellers out of fantasy literature, spawning Gaia, and giving symbolism to the environmental movement. Everything from the pop cultural boom in ufology to the worldwide Search for Extra-Terrestrial Intelligence (SETI) feeds on the energy given off by America's leap toward space. Rocket Dreams is an eloquent tour of this Apollo-scarred landscape. It is also an introduction to some of the most fascinating characters imaginable: Some long dead, like the crackpot visionary Alfred Lawson, who saw in space flight a new stage of human evolution ("Alti-Man"), or Robert Goddard, the father of rocketry, whose workshop in Roswell stands only half a mile from shops selling posters of alien visitors. Others are very much alive -- like Stewart Brand, creator of the Whole Earth Catalog and partner with Gerard O'Neill in the drive to build free-floating space colonies, and SETI astronomer Seth Shostak, who has spent decades listening to the skies, hoping for the first contact with another intelligent species. Perceptive, original, and wonderfully written, informed by history, science, and an acute knowledge of popular culture, Rocket Dreams is a brilliant book by a remarkable talent.
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