DIVArgues that the writers of the 30s and 40s--Hemingway, Ayn Rand, John Dos Passos, Gertrude Stein, Richard Wright, Wallace Stevens et al. -- identified and understood the formal problems of literary modernism through an idea of the social and an idiom of s/div

In New Deal Modernism Michael Szalay examines the effect that the rise of the welfare state had on American modernism during the 1930s and 1940s, and, conversely, what difference this revised modernism made to the New Deal’s famed invention of “Big Government.” Szalay situates his study within a liberal culture bent on security, a culture galvanized by its imagined need for private and public insurance. Taking up prominent exponents of social and economic security—such as Franklin Delano Roosevelt, John Maynard Keynes, and John Dewey—Szalay demonstrates how the New Deal’s revision of free-market culture required rethinking the political function of aesthetics. Focusing in particular on the modernist fascination with the relation between form and audience, Szalay offers innovative accounts of Busby Berkeley, Jack London, James M. Cain, Robert Frost, Ayn Rand, Betty Smith, and Gertrude Stein, as well as extended analyses of the works of Ernest Hemingway, John Steinbeck, and Richard Wright.

The idea of a Green New Deal was launched into popular consciousness by US Congressperson Alexandria Ocasio-Cortez in 2018. Evocative of the far-reaching ambitions of its namesake, it has become a watchword in the current era of global climate crisis. But its new ubiquity brings ambiguity: what - and for whom - is the Green New Deal? In this concise and urgent book, Max Ajl provides an overview of the various mainstream Green New Deals. Critically engaging with their proponents, ideological underpinnings and limitations, he goes on to sketch out a radical alternative: a 'People's Green New Deal' committed to degrowth, anti-imperialism and agro-ecology. Ajl diagnoses the roots of the current socio-ecological crisis as emerging from a world-system dominated by the logics of capitalism and imperialism. Resolving this crisis, he argues, requires nothing less than an infrastructural and agricultural transformation in the Global North, and the industrial convergence between North and South. As the climate crisis deepens and the literature on the subject grows, A People's Green New Deal contributes a distinctive perspective to the debate.

A mural renaissance swept the United States in the 1930s, propelled by the New Deal Federal Art Project and the popularity of Mexican muralism. Perhaps nowhere more than in New York City, murals became a crucial site for the development of abstract painting Artists such as Stuart Davis, Arshile Gorky, Willem de Kooning, and Lee Krasner created ambitious works for the Williamsburg Housing Project, Floyd Bennett Field Airport, and the 1939 World’s Fair. Modernism for the Masses examines the public murals (realized and unrealized) of these and other abstract painters and the aesthetic controversy, political influence, and ideological warfare that surrounded them. Jody Patterson transforms standard narratives of modernism by reasserting the significance of the 1930s and explores the reasons for the omission of the mural’s history from chronicles of American art. Beautifully illustrated with the artists’ murals and little-known archival photographs, this book recovers the radical idea that modernist art was a vital part of everyday life.

Features a history of the Hollywood community and its wartime films. Seeing Hollywood as a forcefield, the author examines the social networks, working relationships, and political activities of artists, intellectuals, and film workers who flocked to Hollywood from Europe and the eastern United States before and during the second world war.

Late in the 1930s, the U.S. Department of Agriculture set up a national network of local organizations that joined farmers with public administrators, adult-educators, and social scientists. The aim was to localize and unify earlier New Deal programs concerning soil conservation, farm production control, tenure security, and other reforms, and by 1941 some 200,000 farm people were involved. Even so, conservative anti–New Dealers killed the successful program the next year. This book reexamines the era’s agricultural policy and tells the neglected story of the New Deal agrarian leaders and their visionary ideas about land, democratization, and progressive social change.

An important part of the New Deal, the Modernization Credit Plan helped transform urban business districts and small-town commercial strips across 1930s America, but it has since been almost completely forgotten. In Modernizing Main Street, Gabrielle Esperdy uncovers the cultural history of the hundreds of thousands of modernized storefronts that resulted from the little-known federal provision that made billions of dollars available to shop owners who wanted to update their facades. Esperdy argues that these updated storefronts served a range of complex purposes, such as stimulating public consumption, extending the New Deal’s influence, reviving a stagnant construction industry, and introducing European modernist design to the everyday landscape. She goes on to show that these diverse roles are inseparable, woven together not only by the crisis of the Depression, but also by the pressures of bourgeoning consumerism. As the decade’s two major cultural forces, Esperdy concludes, consumerism and the Depression transformed the storefront from a seemingly insignificant element of the built environment into a potent site for the physical and rhetorical staging of recovery and progress.

In a fully illustrated, well-documented study, a historically underappreciated, uniquely American style gets its due. This survey explores the often overlooked social impact of imposing government buildings in American cities, large and small, that were funded by the Works Progress Administration in the 1930s. It was The New Deal's attempt to restore America's self-confidence during the Great Depression. Art Deco and modernism morphed into a style that broadcast the idea of the "New" and inspired civic confidence, as represented in structures such as the Federal Reserve in Washington, DC, and the Solomon Courthouse in Nashville. Eventually labeled WPA Moderne, this all-American streamlined Classicism became the public face of an era defined by progress and a sense of security. An extensive chapter on the murals within these structures features elaborate, government-commissioned paintings depicting epochal events in US history and American citizens laboring tirelessly in hopes of a better, brighter future.

In 1930, dancer and choreographer Martha Graham proclaimed the arrival of "dance as an art of and from America." Dancers such as Doris Humphrey, Ted Shawn, Katherine Dunham, and Helen Tamiris joined Graham in creating a new form of dance, and, like other modernists, they experimented with and argued over their aesthetic innovations, to which they assigned great meaning. Their innovations, however, went beyond aesthetics. While modern dancers devised new ways of moving bodies in accordance with many modernist principles, their artistry was indelibly shaped by their place in society. Modern dance was distinct from other artistic genres in terms of the people it attracted: white women (many of whom were Jewish), gay men, and African American men and women. Women held leading roles in the development of modern dance on stage and off; gay men recast the effeminacy often associated with dance into a hardened, heroic, American athleticism; and African Americans contributed elements of social, African, and Caribbean dance, even as their undervalued role defined the limits of modern dancers' communal visions. Through their art, modern dancers challenged conventional roles and images of gender, sexuality, race, class, and regionalism with a view of American democracy that was confrontational and participatory, authorial and populist. Modern Bodies exposes the social dynamics that shaped American modernism and moved modern dance to the edges of society, a place both provocative and perilous.

A study of Ben Shahn’s New Deal murals (1933–43) in the context of American Jewish history, labor history, and public discourse. Lithuanian-born artist Ben Shahn learned fresco painting as an assistant to Diego Rivera in the 1930s and created his own visually powerful, technically sophisticated, and stylistically innovative artworks as part of the New Deal Arts Project’s national mural program. InBen Shahn’s New Deal Murals: Jewish Identity in the American Scene author Diana L. Linden demonstrates that Shahn mined his Jewish heritage and left-leaning politics for his style and subject matter, offering insight into his murals’ creation and their sometimes complicated reception by officials, the public, and the press. In four chapters, Linden presents case studies of select Shahn murals that were created from 1933 to 1943 and are located in public buildings in New York, New Jersey, and Missouri. She studies Shahn’s famous untitled fresco for the Jersey Homesteads—a utopian socialist cooperative community populated with former Jewish garment workers and funded under the New Deal—Shahn’s mural for the Bronx Central Post Office, a fresco Shahn proposed to the post office in St. Louis, and a related one-panel easel painting titled The First Amendment located in a Queens, New York, post office. By investigating the role of Jewish identity in Shahn’s works, Linden considers the artist’s responses to important issues of the era, such as President Roosevelt’s opposition to open immigration to the United States, New York’s bustling garment industry and its labor unions, ideological concerns about freedom and liberty that had signifcant meaning to Jews, and the encroachment of censorship into American art. Linden shows that throughout his public murals, Shahn literally painted Jews into the American scene with his subjects, themes, and compositions. Readers interested in Jewish American history, art history, and Depression-era American culture will enjoy this insightful volume.