By Benjamin Balthaser
Anti-Imperialist Modernism excavates how U.S. cross-border, multi-ethnic anti-imperialist events at mid-century formed what we comprehend as cultural modernism and the old interval of the nice melancholy. The ebook demonstrates how U.S. multiethnic cultural pursuits, situated in political events, small journals, hard work unions, and struggles for racial liberation, helped build a typical feel of foreign team spirit that critiqued principles of nationalism and essentialized racial id. The publication therefore 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 many years. amazing archival examine brings to gentle the ways that a transnational imaginative and prescient of modernism and modernity used to be formed via anti-colonial networks of North/South cohesion. Chapters research farmworker photographers in California’s vital valley, a Nez Perce highbrow touring to the Soviet Union, imaginations of the Haitian Revolution, the reminiscence of the U.S.–Mexico warfare, and U.S. radical writers touring to Cuba. The final bankruptcy examines how the chilly warfare foreclosed those activities inside of a nationalist framework, whilst activists and intellectuals needed to suppress the transnational nature in their events, frequently rewriting the cultural earlier to comply to a patriotic narrative of nationwide belonging.
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Extra resources for Anti-Imperialist Modernism: Race and Transnational Radical Culture from the Great Depression to the Cold War
Financial interests. In this way, the two Cubans destabilize the presumption of knowledge articulated by the Author: He does not “know” where his food comes from or how it is produced, or anything about the international connections and entanglements of the nation he proposes to represent that are part of sugar’s production. S. empire destabilizes regimes of knowledge necessary for the realist project that equates a coherent and unified “people” with the discursive boundaries of the nation. S. empire, Odets joined several other artists who traveled to Cuba in the 1930s.
What do I know about Cubans? I’m a New York man: I walk down the street and I tell you everything. I look at a face and I know them all. I know how he speaks, the American male. I know what he reads, what he eats, how he works. I know his opinions, I know his language. He’s got a wife—I know her. He doesn’t like the boss—I’ll tell you why. I’m up on that—I know that stuff. They go in the cafeterias—I know what they eat. What the hell does a Cuban eat—I don’t know. I’m not a Cuban. Chekhov wrote about Russians.
68 While Jameson, Miyoshi, and Said crucially point out that imperialism is constitutive not only of modernity but the modernist literary movement, their crucial theoretical foundation does leave out another possible alternative: that many modernist writers responded to the crisis of representation created by modernity in a very different way, as a mode of self-reflexive critique and even revolutionary aesthetic expression. As one such modernist, Wilson was one of a large number of prominent intellectuals of the “red decade” to take a “turn to the left” in the 1930s, and his American Jitters was seen as his response to the social movements and 20 • Anti-Imperalist Modernism epochal changes of the Depression.