By Benjamin Balthaser
Anti-Imperialist Modernism excavates how U.S. cross-border, multi-ethnic anti-imperialist routine at mid-century formed what we comprehend as cultural modernism and the ancient interval of the nice melancholy. The booklet demonstrates how U.S. multiethnic cultural hobbies, positioned in political events, small journals, hard work unions, and struggles for racial liberation, helped build a standard feel of overseas team spirit that critiqued principles of nationalism and essentialized racial id. The publication hence strikes past debts that experience tended to view the pre-war “Popular entrance” via tropes of nationwide belonging or an abandonment of the cosmopolitanism of earlier a long time. outstanding archival learn brings to gentle the ways that a transnational imaginative and prescient of modernism and modernity used to be shaped via anti-colonial networks of North/South unity. Chapters study farmworker photographers in California’s valuable 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 pursuits inside of a nationalist framework, while activists and intellectuals needed to suppress the transnational nature in their events, frequently rewriting the cultural previous 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
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? . 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.
Anti-imperialist modernism includes both in its frame—the violence of the present and the possibility of a utopian future. We can think of anti-imperialist modernism as a kind of third term between the transnational and international—a utopian future in which to be both modern and free is no longer seen as a contradiction. Lost Texts, Rough Drafts, Unassembled Archives: The Transnational as Countermemory As historian Michel-Rolph Trouillot reminds us, what is remembered in a historical narrative is largely a function of power.
S. West as inherently transnational, part of immigrant flows and colonial dislocations. 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.