Icons of America
Campbell dispels long-held myths and casts a provocative new light on the true origins and meaning of the Gateway Arch. He shows that the monument was the scheme of shrewd city leaders who sought to renew downtown St. Louis and were willing to steal an election, destroy historic buildings, and drive out local people and businesses to achieve their goal. Campbell also tells the human story of the architect Eero Saarinen, whose prize-winning design brought him acclaim but also charges of plagiarism, and who never lived to see the completion of his vision. As a national symbol, the Gateway Arch has a singular place in American culture, Campbell concludes, yet it also stands as an instructive example of failed urban planning.
Jackson Pollock (1912–1956) not only put American art on the map with his famous "drip paintings," he also served as an inspiration for the character of Stanley Kowalski in Tennessee Williams's A Streetcar Named Desire—the role that made Marlon Brando famous. Like Brando, Pollock became an icon of rebellion in 1950s America, and the brooding, defiant persona captured in photographs of the artist contributed to his celebrity almost as much as his notorious paintings did. In the years since his death in a drunken car crash, Pollock's hold on the public imagination has only increased. He has become an enduring symbol of the tormented artist—our American van Gogh.
In this highly engaging book, Evelyn Toynton examines Pollock's itinerant and poverty-stricken childhood in the West, his encounters with contemporary art in Depression-era New York, and his years in the run-down Long Island fishing village that, ironically, was transformed into a fashionable resort by his presence. Placing the artist in the context of his time, Toynton also illuminates the fierce controversies that swirled around his work and that continue to do so. Pollock's paintings captured the sense of freedom and infinite possibility unique to the American experience, and his life was both an American rags-to-riches story and a darker tale of the price paid for celebrity, American style.
Bob Dylan is an iconic figure in American musical and cultural history, lauded by Time magazine as one of the hundred most important people of the twentieth century. For nearly fifty years the singer-songwriter has crafted his unique brand of music, from his 1962 self-titled debut album to 2009's #1 hit Together Through Life, appealing to everyone from baby boomers to the twenty-somethings who storm the stage at his concerts.
In Bob Dylan: Like a Complete Unknown, literary scholar and music critic David Yaffe considers Dylan from four perspectives: his complicated relationship to blackness (including his involvement in the civil rights movement and a secret marriage with a black backup singer), the underrated influence of his singing style, his fascinating image in films, and his controversial songwriting methods that have led to charges of plagiarism. Each chapter travels from the 1960s to the present, offering a historical perspective on the many facets of Dylan's life and career, exploring the mystery that surrounds the enigmatic singer and revealing the complete unknown Dylan.
Hollywood's famous sign, constructed of massive white block letters set into a steep hillside, is an emblem of the movie capital it looms over and an international symbol of glamour and star power. To so many who see its image, the sign represents the earthly home of that otherwise ethereal world of fame, stardom, and celebrity--the goal of American and worldwide aspiration to be in the limelight, to be, like the Hollywood sign itself, instantly recognizable.
How an advertisement erected in 1923, touting the real estate development Hollywoodland, took on a life of its own is a story worthy of the entertainment world that is its focus. Leo Braudy traces the remarkable history of this distinctly American landmark, which has been saved over the years by a disparate group of fans and supporters, among them Alice Cooper and Hugh Hefner, who spearheaded its reconstruction in the 1970s. He also uses the sign's history to offer an intriguing look at the rise of the movie business from its earliest, silent days through the development of the studio system that helped define modern Hollywood. Mixing social history, urban studies, literature, and film, along with forays into such topics as the lure of Hollywood for utopian communities and the development of domestic architecture in Los Angeles, The Hollywood Sign is a fascinating account of how a temporary structure has become a permanent icon of American culture.
Each year, more than two million visitors line up near Philadelphia’s Independence Hall and wait to gaze upon a flawed mass of metal forged more than two and a half centuries ago. Since its original casting in England in 1751, the Liberty Bell has survived a precarious journey on the road to becoming a symbol of the American identity, and in this masterful work, Gary B. Nash reveals how and why this voiceless bell continues to speak such volumes about our nation.
A serious cultural history rooted in detailed research, Nash’s book explores the impetus behind the bell’s creation, as well as its evolutions in meaning through successive generations. With attention to Pennsylvania’s Quaker roots, he analyzes the biblical passage from Leviticus that provided the bell’s inscription and the valiant efforts of Philadelphia’s unheralded brass founders who attempted to recast the bell after it cracked upon delivery from London’s venerable Whitechapel Foundry. Nash fills in much-needed context surrounding the bell’s role in announcing the Declaration of Independence and recounts the lesser-known histories of its seven later trips around the nation, when it served as a reminder of America’s indomitable spirit in times of conflict. Drawing upon fascinating primary source documents, Nash’s book continues a remarkable dialogue about a symbol of American patriotism second only in importance to the Stars and Stripes.
First performed at the midpoint of the twentieth century, John Cage’s 4'33", a composition conceived of without a single musical note, is among the most celebrated and ballyhooed cultural gestures in the history of modern music. A meditation on the act of listening and the nature of performance, Cage’s controversial piece became the iconic statement of the meaning of silence in art and is a landmark work of American music.
In this book, Kyle Gann, one of the nation’s leading music critics, explains 4'33" as a unique moment in American culture and musical composition. Finding resemblances and resonances of 4'33" in artworks as wide-ranging as the paintings of the Hudson River School and the music of John Lennon and Yoko Ono, he provides much-needed cultural context for this fundamentally challenging and often misunderstood piece. Gann also explores Cage’s craft, describing in illuminating detail the musical, philosophical, and even environmental influences that informed this groundbreaking piece of music. Having performed 4'33" himself and as a composer in his own right, Gann offers the reader both an expert’s analysis and a highly personal interpretation of Cage’s most divisive work.
As the New York Yankees' star centerfielder from 1936 to 1951, Joe DiMaggio is enshrined in America's memory as the epitome in sports of grace, dignity, and that ineffable quality called "class." But his career after retirement, starting with his nine-month marriage to Marilyn Monroe, was far less auspicious. Writers like Gay Talese and Richard Ben Cramer have painted the private DiMaggio as cruel or self-centered. Now, Jerome Charyn restores the image of this American icon, looking at DiMaggio's life in a more sympathetic light.
DiMaggio was a man of extremes, superbly talented on the field but privately insecure, passive, and dysfunctional. He never understood that for Monroe, on her own complex and tragic journey, marriage was a career move; he remained passionately committed to her throughout his life. He allowed himself to be turned into a sports memorabilia money machine. In the end, unable to define any role for himself other than "Greatest Living Ballplayer," he became trapped in "a horrible kind of minutia." But where others have seen little that was human behind that minutia, Charyn in Joe DiMaggio presents the tragedy of one of American sports' greatest figures.
The Big House" is America’s idea of the prisona huge, tough, ostentatiously oppressive pile of rock, bristling with rules and punishments, overwhelming in size and the intent to intimidate. Stephen Cox tells the story of the American prisonits politics, its sex, its violence, its inability to control itselfand its idealization in American popular culture. This book investigates both the popular images of prison and the realities behind them: problems of control and discipline, maintenance and reform, power and sexuality. It conveys an awareness of the limits of human and institutional power, and of the symbolic and iconic qualities the Big House” has attained in America’s understanding of itself.
In a work of great wisdom and insight, art critic and philosopher Arthur Danto delivers a compact, masterful tour of Andy Warhol’s personal, artistic, and philosophical transformations. Danto traces the evolution of the pop artist, including his early reception, relationships with artists such as Jasper Johns and Robert Rauschenberg, and the Factory phenomenon. He offers close readings of individual Warhol works, including their social context and philosophical dimensions, key differences with predecessors such as Marcel Duchamp, and parallels with successors like Jeff Koons. Danto brings to bear encyclopedic knowledge of Warhol’s time and shows us Warhol as an endlessly multidimensional figure—artist, political activist, filmmaker, writer, philosopher—who retains permanent residence in our national imagination.
Danto suggests that "what makes him an American icon is that his subject matter is always something that the ordinary American understands: everything, or nearly everything he made art out of came straight out of the daily lives of very ordinary Americans. . . . The tastes and values of ordinary persons all at once were inseparable from advanced art."
The little red schoolhouse has all but disappeared in the United States, but its importance in national memory remains unshakable. This engaging book examines the history of the one-room school and how successive generations of Americans have rememberedand just as often misrememberedthis powerful national icon.
Drawing on a rich range of sources, from firsthand accounts to poems, songs, and films, Jonathan Zimmerman traces the evolution of attitudes toward the little red schoolhouse from the late nineteenth century to the present day. At times it was celebrated as a symbol of lost rural virtues or America’s democratic heritage; at others it was denounced as the epitome of inefficiency and substandard academics. And because the one-room school has been a useful emblem for liberal, conservative, and other agendas, the truth of its history has sometimes been stretched. Yet the idyllic image of the schoolhouse still unites Americans. For more than a century, it has embodied the nation’s best aspirations andespeciallyits continuing faith in education itself.
Books on Whittaker Chambers and Alger Hiss abound, as countless scholars have labored to uncover the facts behind Chambers’s shocking accusation before the House Committee on Un-American Activities in the summer of 1948—that Alger Hiss, a former rising star in the State Department, had been a Communist and engaged in espionage.
In this highly original work, Susan Jacoby turns her attention to the Hiss case, including his trial and imprisonment for perjury, as a mirror of shifting American political views and passions. Unfettered by political ax-grinding, the author examines conflicting responses, from scholars and the media on both the left and the right, and the ways in which they have changed from 1948 to our present post–Cold War era. With a brisk, engaging style, Jacoby positions the case in the politics of the post–World War II era and then explores the ways in which generations of liberals and conservatives have put Chambers and Hiss to their own ideological uses. An iconic event of the McCarthy era, the case of Alger Hiss fascinates political intellectuals not only because of its historical significance but because of its timeless relevance to equally fierce debates today about the difficult balance between national security and respect for civil liberties.
A true icon of America at a turning point in its history, Gypsy Rose Lee was the first—and the only—stripper to become a household name, write novels, and win the adulation of intellectuals, bankers, socialites, and ordinary Americans. Her outrageous blend of funny-smart sex symbol with the aura of high culture—she boasted that she liked to read Great Books and listen to classical music while taking off her clothes on-stage—inspired a musical, memoirs, a portrait by Max Ernst, and a species of rose. Gypsy is the first book about Gypsy Rose Lee’s life, fame, and place in America not written by a family member, and it reveals her deep impact on the social and cultural transformations taking shape during her life.
Rachel Shteir, author of the prize-winning Striptease, gives us Gypsy’s story from her arrival in New York in 1931 to her sojourns in Hollywood, her friendships and rivalries with writers and artists, the Sondheim musical, family memoirs that retold her history in divergent ways, and a television biopic currently in the making. With verve, audacity, and native guile, Gypsy Rose Lee moved striptease from the margins of American life to Broadway, Hollywood, and Main Street. Gypsy tells how she did it, and why.
How and why has the saga of Scarlett O’Hara kept such a tenacious hold on our national imagination for almost three-quarters of a century? In the first book ever to deal simultaneously with Margaret Mitchell’s beloved novel and David Selznick’s spectacular film version of Gone with the Wind, film critic Molly Haskell seeks the answers. By all industry predictions, the film should never have worked. What makes it work so amazingly well are the fascinating and uncompromising personalities that Haskell dissects here: Margaret Mitchell, David Selznick, and Vivien Leigh. As a feminist and onetime Southern adolescent, Haskell understands how the story takes on different shades of meaning according to the age and eye of the beholder. She explores how it has kept its edge because of Margaret Mitchell’s (and our) ambivalence about Scarlett and because of the complex racial and sexual attitudes embedded in a story that at one time or another has offended almost everyone.
Haskell imaginatively weaves together disparate strands, conducting her story as her own inner debate between enchantment and disenchantment. Sensitive to the ways in which history and cinema intersect, she reminds us why these characters, so riveting to Depression audiences, continue to fascinate 70 years later.
Includes the entire text of "I Have A Dream"
I have a dream”no words are more widely recognized, or more often repeated, than those called out from the steps of the Lincoln Memorial by Martin Luther King, Jr., in 1963. King’s speech, elegantly structured and commanding in tone, has become shorthand not only for his own life but for the entire civil rights movement. In this new exploration of the I have a dream” speech, Eric J. Sundquist places it in the history of American debates about racial justicedebates as old as the nation itselfand demonstrates how the speech, an exultant blend of grand poetry and powerful elocution, perfectly expressed the story of African American freedom.
This book is the first to set King’s speech within the cultural and rhetorical traditions on which the civil rights leader drew in crafting his oratory, as well as its essential historical contexts, from the early days of the republic through present-day Supreme Court rulings. At a time when the meaning of the speech has been obscured by its appropriation for every conceivable cause, Sundquist clarifies the transformative power of King’s Second Emancipation Proclamation” and its continuing relevance for contemporary arguments about equality.
Though branded as pornography for its graphic language and explicit sexuality, Henry Miller’s Tropic of Cancer is far more than a work that tested American censorship laws. In this riveting book, published to coincide with the fiftieth anniversary of Tropic of Cancer's initial U.S. release, Frederick Turner investigates Miller’s unconventional novel, its tumultuous publishing history, and its unique place in American letters.
Written in the slums of a foreign city by a man who was an utter literary failure in his homeland, Tropic of Cancer was published in 1934 by a pornographer in Paris, but soon banned in the United States. Not until 1961, when Grove Press triumphed over the censors, did Miller’s book appear in American bookstores. Turner argues that Tropic of Cancer is “lawless, violent, colorful, misogynistic, anarchical, bigoted, and shaped by the same forces that shaped the nation.” Further, the novel draws on more than two centuries of New World history, folklore, and popular culture in ways never attempted before. How Henry Miller, outcast and renegade, came to understand what literary dynamite he had within him, how he learned to sound his “war whoop” over the roofs of the world, is the subject of Turner’s revelatory study.
Wall Street: no other place on earth is so singularly identified with money and the power of money. And no other American institution has inspired such deep moral, cultural, and political ambivalence. Is the Street an unbreachable bulwark defending commercial order? Or is it a center of mad ambition?
This book recounts the colorful history of America’s love-hate relationship with Wall Street. Steve Fraser frames his fascinating analysis around the roles of four iconic Wall Street typesthe aristocrat, the confidence man, the hero, and the immoralistall recurring figures who yield surprising insights about how the nation has wrestled, and still wrestles, with fundamental questions of wealth and work, democracy and elitism, greed and salvation. Spanning the years from the first Wall Street panic of 1792 to the dot.com bubble-and-bust and Enron scandals of our own time, the book is full of stories and portraits of such larger-than-life figures as J. P. Morgan, Cornelius Vanderbilt, and Michael Milken. Fraser considers the conflicting attitudes of ordinary Americans toward the Street and concludes with a brief rumination on the recent notion of Wall Street as a haven for Everyman.
