It’s hard to imagine a more astute, more graceful guide to a remarkably creative period.
Just in time for our own era’s economic collapse, a literary critic looks back at the unusually rich art of the 1930s.
In this scholarly yet immensely readable study, Dickstein (English/CUNY; A Mirror in the Roadway: Literature in the Real World, 2005, etc.) examines how the artistic culture of the ’30s served a dual function. It helped people understand and cope with the terrible economic climate, and it allowed them to escape, for a while at least, the burden of dark times. The books, music, photos, movies, plays and dances of the period both reflected and influenced the decade’s unique state of mind. These wide-ranging works of art include the novels of John Steinbeck, Zora Neale Hurston, Richard Wright and Henry Roth, and the photographs of Margaret Bourke-White and Walker Evans, which turned an unprecedented spotlight on America’s poor and disenfranchised. Artists like Nathanael West, James T. Farrell, John Dos Passos and F. Scott Fitzgerald “emphasize[d] the limitations and distortions of the American Dream,” even as Cagney’s gangster films and Busby Berkeley’s backstage musicals reinvented rags-to-riches fantasies. At a time when audiences made room simultaneously for social relevance and artistic escape, singers as disparate as Bing Crosby and Woody Guthrie had a place. The big bands of Ellington and Goodman, the romantic comedies of Hawks and Capra, the dancing of Astaire and Rogers and the music of Porter and Gershwin all supplied a touch of class for the masses. Whether discussing Citizen Kane or Porgy and Bess, the poetry of Langston Hughes, William Carlos Williams or Robert Frost, Faulkner’s unique achievement and odd relation to the period, the films of Cary Grant or the elegance and energy of Art Deco, Dickstein always has something smart and lively to say. His scintillating commentary illuminates an important dimension of a decade too often considered only in political or economic terms.
It’s hard to imagine a more astute, more graceful guide to a remarkably creative period.Pub Date: Sept. 14, 2009
ISBN: 978-0-393-07225-9
Page Count: 576
Publisher: Norton
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: July 1, 2009
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.
Greed, depravity, and serial murder in 1920s Oklahoma.
During that time, enrolled members of the Osage Indian nation were among the wealthiest people per capita in the world. The rich oil fields beneath their reservation brought millions of dollars into the tribe annually, distributed to tribal members holding "headrights" that could not be bought or sold but only inherited. This vast wealth attracted the attention of unscrupulous whites who found ways to divert it to themselves by marrying Osage women or by having Osage declared legally incompetent so the whites could fleece them through the administration of their estates. For some, however, these deceptive tactics were not enough, and a plague of violent death—by shooting, poison, orchestrated automobile accident, and bombing—began to decimate the Osage in what they came to call the "Reign of Terror." Corrupt and incompetent law enforcement and judicial systems ensured that the perpetrators were never found or punished until the young J. Edgar Hoover saw cracking these cases as a means of burnishing the reputation of the newly professionalized FBI. Bestselling New Yorkerstaff writer Grann (The Devil and Sherlock Holmes: Tales of Murder, Madness, and Obsession, 2010, etc.) follows Special Agent Tom White and his assistants as they track the killers of one extended Osage family through a closed local culture of greed, bigotry, and lies in pursuit of protection for the survivors and justice for the dead. But he doesn't stop there; relying almost entirely on primary and unpublished sources, the author goes on to expose a web of conspiracy and corruption that extended far wider than even the FBI ever suspected. This page-turner surges forward with the pacing of a true-crime thriller, elevated by Grann's crisp and evocative prose and enhanced by dozens of period photographs.
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.Pub Date: April 18, 2017
ISBN: 978-0-385-53424-6
Page Count: 352
Publisher: Doubleday
Review Posted Online: Feb. 1, 2017
Kirkus Reviews Issue: Feb. 15, 2017
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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