By Benjamin Balthaser
Anti-Imperialist Modernism excavates how U.S. cross-border, multi-ethnic anti-imperialist hobbies at mid-century formed what we comprehend as cultural modernism and the ancient interval of the nice melancholy. The publication demonstrates how U.S. multiethnic cultural hobbies, situated in political events, small journals, exertions unions, and struggles for racial liberation, helped build a typical experience of foreign team spirit that critiqued principles of nationalism and essentialized racial id. The booklet hence strikes past money owed that experience tended to view the pre-war “Popular entrance” via tropes of nationwide belonging or an abandonment of the cosmopolitanism of past a long time. extraordinary archival learn brings to mild the ways that a transnational imaginative and prescient of modernism and modernity was once 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 conflict, and U.S. radical writers touring to Cuba. The final bankruptcy examines how the chilly battle foreclosed those hobbies inside a nationalist framework, while activists and intellectuals needed to suppress the transnational nature in their activities, usually rewriting the cultural previous to comply to a patriotic narrative of nationwide belonging.
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Extra info for Anti-Imperialist Modernism: Race and Transnational Radical Culture from the Great Depression to the Cold War
S. imperial sovereignty. For many of these writers, Cuba became an important site in an antiracist, Popular Front social imaginary. S. nationalism as well as a model for multiracial and transnational movements in the United States.
Indeed, the West became a major site of reevaluation in the 1930s. S. 91 The blacklisted 1954 film Salt of the Earth was the culmination not only of the Popular Front anti-imperialist movement, but also of two decades of critical writing about the West. S. settler colonialism relied. 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.
S. anti-imperialism. Beginning in New York City, we are introduced to a left-wing writer who is listening to a “pitch” by two exiled Cuban revolutionaries who are staying with him. The Cubans want a play about their national hero, Lorca, and the writer—something of a stand-in for Odets himself—becomes increasingly impatient with their demands. He argues that he has no time, that he’s under no obligation to write anything for anyone, that during the Depression there is no privileged site of suffering, until he finally erupts: Author: Why not?
Anti-Imperialist Modernism: Race and Transnational Radical Culture from the Great Depression to the Cold War by Benjamin Balthaser