By Benjamin Balthaser
Anti-Imperialist Modernism excavates how U.S. cross-border, multi-ethnic anti-imperialist pursuits at mid-century formed what we comprehend as cultural modernism and the old interval of the nice melancholy. The e-book demonstrates how U.S. multiethnic cultural events, positioned in political events, small journals, exertions unions, and struggles for racial liberation, helped build a standard feel of overseas cohesion that critiqued principles of nationalism and essentialized racial identification. The ebook hence strikes past bills that experience tended to view the pre-war “Popular entrance” via tropes of nationwide belonging or an abandonment of the cosmopolitanism of prior a long time. notable archival study brings to gentle the ways that a transnational imaginative and prescient of modernism and modernity was once shaped via anti-colonial networks of North/South team spirit. Chapters research farmworker photographers in California’s imperative valley, a Nez Perce highbrow touring to the Soviet Union, imaginations of the Haitian Revolution, the reminiscence of the U.S.–Mexico conflict, and U.S. radical writers touring to Cuba. The final bankruptcy examines how the chilly struggle foreclosed those activities inside a nationalist framework, whilst activists and intellectuals needed to suppress the transnational nature in their events, usually rewriting the cultural earlier to comply to a patriotic narrative of nationwide belonging.
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Additional resources for Anti-Imperialist Modernism: Race and Transnational Radical Culture from the Great Depression to the Cold War
S. empire, Odets joined several other artists who traveled to Cuba in the 1930s. Four of the most famous, and perhaps representative, writers of the 1930s spent time in Cuba between 1927 and 1939: Josephine Herbst, Clifford Odets, Ernest Hemingway, and Langston Hughes. While their collective accounts differ in important ways, Cuba became a way for all four to narrate their relationship to the United States and their identities as subjects of a sovereign empire. For Odets, Herbst, and Hughes, Cuba offers a problem of representation and forces them into a self-conscious relationship to their own work and their role as writers—creators, one could say—of representative acts, acts that are to represent a particular political and literary constituency.
S. West” as a discrete place or concept. S. 92 The many layers of development and dispossession in Salt—from the dispossessed Native American miners, to the Mexican American family on whose ranch the mine was illegally built, from the white sheriff and mine executive who speak the language of colonial paternalism and Introduction • 27 violence, to the image of the West as a hub within the Cold War expansion of capital during the Korean War—these many expressions of hemispheric capitalism are shown as simultaneous, transnational, and ongoing.
Wilson, Ivy League educated and Anglophile in his literary tastes, wrote from the cultural center. Thus Wilson’s modernist construction—in which the shoreline is transformed into a perceptual vantage point from which to see into the “infinity” of empire both spatially and temporally—presents a way to think about not only modernism but how anti-imperialist work is another form through which modernism was expressed. In addition, there has been a growing attention to the way in which modernism itself is constructed around a patrician, Anglo-American sensibility.
Anti-Imperialist Modernism: Race and Transnational Radical Culture from the Great Depression to the Cold War by Benjamin Balthaser
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