What do Lucy Parsons, Clarence Darrow, Carl Sandburg, Mary MacLane, Lawrence Lipton, Elizabeth Davis (Queen of the Hoboes), Jun Fujita, Sherwood Anderson, Ralph Chaplin, Katherine Dunham, Djuna Barnes, Kenneth Rexroth, Sam Dolgoff, and Slim Brundage have in common? They were all Dil Picklers! Founded in 1914 by former Wobbly Jack Jones, Irish revolutionist Jim Larkin, and a group of fantastic IWW-oriented Bughouse Square hobos and soapboxers, the Dil Pickle in just a few years was widely recognized as the wildest, most playful, most creative, and most radical nightspot in the known universe - especially after Dr. Ben Reitman joined the club in 1917. In this book, Rosemont has collected forty-one reminiscences of the Dil Pickle by poets, artists, journalists, novelists, hobos, scholars, anarchist, wobblies, and other assorted radicals and oddballs. Among them are accounts by the club's founders, habitues, visitors, and critics. Rosemont's introduction provides the fullest account so far of the Dil Pickle's chaotic history, and goes on to explore the role of the Picklers in the arts and the 'Chicago Renaissance', along with its meaning(s) for our own troubled times.

2019 National Jewish Book Award Finalist for Biography. Ben Hecht had seen his share of death-row psychopaths, crooked ward bosses, and Capone gun thugs by the time he had come of age as a crime reporter in gangland Chicago. His grim experience with what he called “the soul of man” gave him a kind of uncanny foresight a decade later, when a loose cannon named Adolf Hitler began to rise to power in central Europe. In 1932, Hecht solidified his legend as "the Shakespeare of Hollywood" with his thriller Scarface, the Howard Hughes epic considered the gangster movie to end all gangster movies. But Hecht rebelled against his Jewish bosses at the movie studios when they refused to make films about the Nazi menace. Leveraging his talents and celebrity connections to orchestrate a spectacular one-man publicity campaign, he mobilized pressure on the Roosevelt administration for an Allied plan to rescue Europe’s Jews. Then after the war, Hecht became notorious, embracing the labels “gangster” and “terrorist” in partnering with the mobster Mickey Cohen to smuggle weapons to Palestine in the fight for a Jewish state. The Notorious Ben Hecht: Iconoclastic Writer and Militant Zionist is a biography of a great twentieth-century writer that treats his activism during the 1940s as the central drama of his life. It details the story of how Hecht earned admiration as a humanitarian and vilification as an extremist at this pivotal moment in history, about the origins of his beliefs in his varied experiences in American media, and about the consequences. Who else but Hecht could have drawn the admiration of Ezra Pound, clowned around with Harpo Marx, written Notorious and Spellbound with Alfred Hitchcock, launched Marlon Brando’s career, ghosted Marilyn Monroe’s memoirs, hosted Jack Kerouac and Salvador Dalí on his television talk show, and plotted revolt with Menachem Begin? Any lover of modern history who follows this journey through the worlds of gangsters, reporters, Jazz Age artists, Hollywood stars, movie moguls, political radicals, and guerrilla fighters will never look at the twentieth century in the same way again.

The Roots of Cane proposes a new way to read one of the most significant works of the New Negro Renaissance, Jean Toomer’s Cane. Rather than focusing on the form of the book published by Boni and Liveright, what Toomer would later call a single textual “organism,” John Young traces the many pieces of Cane that were dispersed across multiple modernist magazines from 1922 through 1923. These periodicals ranged from primarily political monthlies to avant-garde arts journals to regional magazines with transnational aspirations. Young interweaves a periodical-studies approach to modernism with book history and critical race theory, resituating Toomer’s uneasy place within Black modernism by asking how original readers would have encountered his work. The different contexts in which those audiences were engaging with Toomer’s portraits of racialized identity in the Jim Crow United States, yield often surprising results.

A vibrant history in graphic art of the Wobblies, published for the centenary of the founding of the Industrial Workers of the World.

How queerness and radical politics intersected—earlier than you thought. Well before Stonewall, a broad cross section of sexual dissidents took advantage of their space on the margins of American society to throw themselves into leftist campaigns. Sensitive already to sexual marginalization, they also saw how class inequality was exacerbated by the Great Depression, witnessing the terrible bread lines and bread riots of the era. They participated in radical labor organizing, sympathized like many with the early prewar Soviet Union, contributed to the Republicans in the Spanish Civil War, opposed US police and state harassment, fought racial discrimination, and aligned themselves with the dispossessed. Whether they were themselves straight, gay, or otherwise queer, they brought sexual dissidence and radicalism into conversation at the height of the Left's influence on American culture. Combining rich archival research with inventive analysis of art and literature, Love’s Next Meeting explores the relationship between homosexuality and the Left in American culture between 1920 and 1960. Aaron S. Lecklider uncovers a lively cast of individuals and dynamic expressive works, revealing remarkably progressive engagement with homosexuality among radicals, workers, and the poor. Leftists connected sexual dissidence with radical gender politics, antiracism, and challenges to censorship and obscenity laws through the 1920s and 1930s. In the process, a wide array of activists, organizers, artists, and writers laid the foundation for a radical movement through which homosexual lives and experiences were given shape and new political identities were forged. Love's Next Meeting cuts to the heart of some of the biggest questions in American history: questions about socialism, about sexuality, about the supposed clash still making headlines today between leftist politics and identity politics. What emerges is a dramatic, sexually vibrant story of the shared struggles for liberation across the twentieth century.

Winner of the Chicago Tribune‘s 2013 Heartland Prize A critically acclaimed history of Chicago at mid-century, featuring many of the incredible personalities that shaped American culture Before air travel overtook trains, nearly every coast-to-coast journey included a stop in Chicago, and this flow of people and commodities made it the crucible for American culture and innovation. In luminous prose, Chicago native Thomas Dyja re-creates the story of the city in its postwar prime and explains its profound impact on modern America—from Chess Records to Playboy, McDonald’s to the University of Chicago. Populated with an incredible cast of characters, including Mahalia Jackson, Muddy Waters, Howlin’ Wolf, Chuck Berry, Sun Ra, Simone de Beauvoir, Nelson Algren, Gwendolyn Brooks, Studs Turkel, and Mayor Richard J. Daley, The Third Coast recalls the prominence of the Windy City in all its grandeur.

The period between 1880 and 1918, at the end of which Jim Crow was firmly established and the Great Migration of African Americans was well under way, was not the nadir for black culture, James Smethurst reveals, but instead a time of profound response from African American intellectuals. The African American Roots of Modernism explores how the Jim Crow system triggered significant artistic and intellectual responses from African American writers, deeply marking the beginnings of literary modernism and, ultimately, notions of American modernity. In identifying the Jim Crow period with the coming of modernity, Smethurst upsets the customary assessment of the Harlem Renaissance as the first nationally significant black arts movement, showing how artists reacted to Jim Crow with migration narratives, poetry about the black experience, black performance of popular culture forms, and more. Smethurst introduces a whole cast of characters, including understudied figures such as William Stanley Braithwaite and Fenton Johnson, and more familiar authors such as Charles Chesnutt, Pauline Hopkins, and James Weldon Johnson. By considering the legacy of writers and artists active between the end of Reconstruction and the rise of the Harlem Renaissance, Smethurst illuminates their influence on the black and white U.S. modernists who followed.

Emma Goldman has often been read for her colorful life story, her lively if troubled sex life, and her wide-ranging political activism. Few have taken her seriously as a political thinker, even though in her lifetime she was a vigorous public intellectual within a global network of progressive politics. Engaging Goldman as a political thinker allows us to rethink the common dualism between theory and practice, scrutinize stereotypes of anarchism by placing Goldman within a fuller historical context, recognize the remarkable contributions of anarchism in creating public life, and open up contemporary politics to the possibilities of transformative feminism.

Marxism in a Lost Century retells the history of the radical left during the twentieth century through the words and deeds of Paul Mattick. An adolescent during the German revolutions that followed World War I, he was also a recent émigré to the United States during the 1930s Great Depression, when the unemployed groups in which he participated were among the most dynamic manifestations of social unrest. Three biographical themes receive special attention -- the self-taught nature of left-wing activity, Mattick’s experiences with publishing, and the nexus of men, politics, and friendship. Mattick found a wide audience during the 1960s because of his emphasis on the economy’s dysfunctional aspects and his advocacy of workplace councils—a popularity mirrored in the cyclical nature of the global economy.

Chicago Whispers illuminates a colorful and vibrant record of lesbian, gay, bisexual, and transgendered people who lived and loved in Chicago from the city’s beginnings in the 1670s as a fur-trading post to the end of the 1960s. Journalist St. Sukie de la Croix, drawing on years of archival research and personal interviews, reclaims Chicago’s LGBT past that had been forgotten, suppressed, or overlooked. Included here are Jane Addams, the pioneer of American social work; blues legend Ma Rainey, who recorded “Sissy Blues” in Chicago in 1926; commercial artist J. C. Leyendecker, who used his lover as the model for “The Arrow Collar Man” advertisements; and celebrated playwright Lorraine Hansberry, author of A Raisin in the Sun. Here, too, are accounts of vice dens during the Civil War and classy gentlemen’s clubs; the wild and gaudy First Ward Ball that was held annually from 1896 to 1908; gender-crossing performers in cabarets and at carnival sideshows; rights activists like Henry Gerber in the 1920s; authors of lesbian pulp novels and publishers of “physique magazines”; and evidence of thousands of nameless queer Chicagoans who worked as artists and musicians, in the factories, offices, and shops, at theaters and in hotels. Chicago Whispers offers a diverse collection of alternately hip and heart-wrenching accounts that crackle with vitality.