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A deeply considered and provocative new look at major American writers—including Saul Bellow, Norman Mailer, and W.H. Auden—Edward Mendelson’s Moral Agents is also a work of critical biography in the great tradition of Plutarch, Samuel Johnson, and Emerson. Any important writer, in Mendelson’s view, writes in response to an idea of the good life that is inseparable from the life the writer lives. Fusing biography and criticism and based on extensive new research, Moral Agents presents challenging new portraits of eight writers—novelists, critics, and poets—who transformed American literature in the turbulent twentieth century. Eight sharply distinctive individuals—inspired, troubled, hugely ambitious—who reimagined what it means to be a writer. There’s Saul Bellow, a novelist determined to rule as a patriarch, who, having been neglected by his father, in turn neglected his son in favor of young writers who presented themselves as his literary heirs. Norman Mailer’s extraordinary ambition, suppressed insecurity, and renegade metaphysics muddled the novels through which he hoped to change the world, yet these same qualities endowed him with an uncanny sensitivity and deep sympathy to the pathologies of American life that make him an unequaled political reporter. William Maxwell wrote sad tales of small-town life and surrounded himself with a coterie of worshipful admirers. As a powerful editor at The New Yorker, he exercised an enormous and constraining influence on American fiction that is still felt today. Preeminent among the critics is Lionel Trilling, whose Liberal Imagination made him a celebrity sage of the anxiously tranquilized 1950s, even as his calculated image of Olympian reserve masked a deeply conflicted life and contributed to his ultimately despairing worldview. Dwight Macdonald, by contrast, was a haute-WASP anarchist and aesthete driven by an exuberant moral commitment, in a time of cautious mediocrity, to doing the right thing. Alfred Kazin, from a poor Jewish émigré background, remained an outsider at the center of literary New York, driven both to escape from and do justice to the deepest meanings of his Jewish heritage. Perhaps most intriguing are the two poets, W.H. Auden and Frank O’Hara. Early in his career, Auden was tempted to don the mantle of the poet as prophet, but after his move from England to America he lived and wrote in a spirit of modesty and charity born out of a deeply idiosyncratic understanding of Christianity. O’Hara, tireless partygoer and pioneering curator at MoMA, wrote much of his poetry for private occasions. Its lasting power has proven to be something different from its avant-garde reputation: personal warmth, individuality, rootedness in ancient traditions, and openness to the world.
The American writer--both real and fictitious, famous and obscure--has traditionally been situated on the margins of society, an outsider looking in. From The Great Gatsby's Nick Carraway to the millions of bloggers today, writers are generally seen as onlookers documenting the human condition. Yet their own collective story has largely gone untold. Tracing the role of the writer in the United States over the last century, this book describes how those who use language as a creative medium have held a special place in our collective imagination.
Addresses the political and aesthetic evolution of African American literature and its authors during the Cold War, an era McCarthy calls “the Blue Period.” In the years after World War II, to be a black writer was to face a stark predicament. The contest between the Soviet Union and the United States was a global one—an ideological battle that dominated almost every aspect of the cultural agenda. On the one hand was the Soviet Union, espousing revolutionary communism that promised egalitarianism while being hostile to conceptions of personal freedom. On the other hand was the United States, a country steeped in racial prejudice and the policies of Jim Crow. Black writers of this time were equally alienated from the left and the right, Jesse McCarthy argues, and they channeled that alienation into remarkable experiments in literary form. Embracing racial affect and interiority, they forged an aesthetic resistance premised on fierce dissent from both US racial liberalism and Soviet communism. From the end of World War II to the rise of the Black Power movement in the 1960s, authors such as Richard Wright, James Baldwin, Gwendolyn Brooks, and Paule Marshall defined a distinctive moment in American literary culture that McCarthy terms the Blue Period. In McCarthy’s hands, this notion of the Blue Period provides a fresh critical framework that challenges long-held disciplinary and archival assumptions. Black writers in the early Cold War went underground, McCarthy argues, not to depoliticize or liberalize their work, but to make it more radical—keeping alive affective commitments for a future time.
A study of the philosophical, intellectual, and political influences on the artistic creations of Fitzgerald and key early American modernist writers
Timing the Future Metropolis—an intellectual history of planning, urbanism, design, and social science—explores the network of postwar institutions, formed amid specters of urban "crisis" and "renewal," that set out to envision the future of the American city. Peter Ekman focuses on one decisive node in the network: the Joint Center for Urban Studies, founded in 1959 by scholars at Harvard and MIT. Through its sprawling programs of "organized research," its manifold connections to universities, foundations, publishers, and policymakers, and its years of consultation on the planning of a new city in Venezuela—Ciudad Guayana—the Joint Center became preoccupied with the question of how to conceptualize the urban future as an object of knowledge. Timing the Future Metropolis ultimately compels a broader reflection on temporality in urban planning, rethinking how we might imagine cities yet to come—and the consequences of deciding not to.
Where are you? Today, your favourite maps app will give you your location down to a greater level of detail than ever before. But do you really feel like you know where you are? Major cultural shifts over the past generation have left us feeling disorientated; constant connection has left us feeling dislocated. And many of us are searching for something we can't seem to find. Could the problem be that we have lost a place for God? Pete Nicholas invites you to explore the big questions asked by each generation from those of origin and identity to happiness and hope, arguing that by reinstating God's centrality in our lives we can find a sense of rootedness, peace and the answers we've been looking for. Featuring a foreword by Timothy Keller, author, speaker and church leader.
A staggering memoir from New York Times-bestselling author Ada Calhoun tracing her fraught relationship with her father and their shared obsession with a great poet When Ada Calhoun stumbled upon old cassette tapes of interviews her father, celebrated art critic Peter Schjeldahl, had conducted for his never-completed biography of poet Frank O’Hara, she set out to finish the book her father had started forty years earlier. As a lifelong O’Hara fan who grew up amid his bohemian cohort in the East Village, Calhoun thought the project would be easy, even fun, but the deeper she dove, the more she had to face not just O’Hara’s past, but also her father’s, and her own. The result is a groundbreaking and kaleidoscopic memoir that weaves compelling literary history with a moving, honest, and tender story of a complicated father-daughter bond. Also a Poet explores what happens when we want to do better than our parents, yet fear what that might cost us; when we seek their approval, yet mistrust it. In reckoning with her unique heritage, as well as providing new insights into the life of one of our most important poets, Calhoun offers a brave and hopeful meditation on parents and children, artistic ambition, and the complexities of what we leave behind.
Saul Bellow: "I Was a Jew and an American and a Writer" offers a fresh and original perspective on the life and works of Saul Bellow, the Nobel Prize winner in Literature in 1976. Author Gerald Sorin emphasizes Bellow's Jewish identity as fundamental to his being and the content and meaning of his fiction. Bellow's work from the 1940s to 2000, when he wrote his last novel at the age of 84, centers on the command in Deuteronomy to "Choose life" as distinct from nihilistic withdrawal and the defense of meaninglessness. Although Bellow disdained the label of "American Jewish Writer," Sorin conjectures that he was an outstanding representative of the classification. Bellow and the characters in his fiction not only choose life but also explore what it means to live a good life, however difficult that may be to define, and regardless of how much harder it is to achieve. For Sorin, Bellow realized that at least two obstacles stood in the way: the imperfection of the world and the frailty of the human pursuer. Saul Bellow: "I Was a Jew and an American and a Writer" provides a new and insightful narrative of the life and works of Saul Bellow. By using Bellow's deeply internalized Jewishness and his remarkable imagination and creativity as a lens, Sorin examines how he captured the shifting atmosphere of postwar American culture.
How virility and Jewishness became hallmarks of postwar New York’s combative intellectual scene In the years following World War II, the New York intellectuals became some of the most renowned critics and writers in the country. Although mostly male and Jewish, this prominent group also included women and non-Jews. Yet all of its members embraced a secular Jewish machismo that became a defining characteristic of the contemporary experience. Write like a Man examines how the New York intellectuals shared a uniquely American conception of Jewish masculinity that prized verbal confrontation, polemical aggression, and an unflinching style of argumentation. Ronnie Grinberg paints illuminating portraits of figures such as Norman Mailer, Hannah Arendt, Lionel and Diana Trilling, Mary McCarthy, Norman Podhoretz, Midge Decter, and Irving Howe. She describes how their construction of Jewish masculinity helped to propel the American Jew from outsider to insider even as they clashed over its meaning in a deeply anxious project of self-definition. Along the way, Grinberg sheds light on their fraught encounters with the most contentious issues and ideas of the day, from student radicalism and the civil rights movement to feminism, Freudianism, and neoconservatism. A spellbinding chronicle of mid-century America, Write like a Man shows how a combative and intellectually grounded vision of Jewish manhood contributed to the masculinization of intellectual life and shaped some of the most important political and cultural debates of the postwar era.
What has it meant to be an Americanist? What did it mean to be an Americanist through fascism, war, and occupation? Nightmare Envy and Other Stories is a study of Americanist writing and institutions in the 20th century. Four chapters trace four routes through the mid-twentieth century. The first chapter is the hidden history of American Studies in the United States, Europe and Japan. The second is the strange career of "national character" in anthropology. The third is a contest between military occupation and cultural diplomacy in Europe. The fourth is the emergence and fate of the "American Renaissance," as the scholar and literary critic F.O. Matthiessen carried a canon of radical literature across the Iron Curtain. Each chapter culminates in the postwar period, when the ruin of postwar Europe led writers and intellectuals on both sides of the Atlantic to understand America in new ways. Many of our modern myths of the United States and Europe were formed in this moment. Some saw the United States assume the mantle of cultural redeemer. Others saw a stereotypical America, rich in civilization but poor in culture, overtake a stereotypical Europe, rich in culture and equally rich in disaster. Drawing on American and European archives, the book weaves cultural, intellectual, and diplomatic history, with portraits of Matthiessen, Margaret Mead, Ruth Benedict, David Riesman, Alfred Kazin, and Ralph Ellison. It excavates the history of the Salzburg Seminar in American Civilization, where displaced persons, former Nazis, budding Communists, and glad-handing Americans met on the common ground of American culture. Others found keys to their own contexts in American books, reading Moby-Dick in the ruins. Nightmare Envy and Other Stories chronicles American encounters with European disaster, European encounters with American fiction, and the chasms over which culture had to reach.