A richly detailed investigation of burgeoning creativity in a decade marked by both hope and dread.
In post–World War II America, literature revealed the nation’s attitudes about patriotism, race, gender, and ecology.
“In the 1940s,” Hutchinson (American Culture/Cornell Univ.; In Search of Nella Larsen: A Biography of the Color Line, 2006, etc.) writes, “literature mattered.” His capacious, informative cultural history amply supports that declaration: writers, he adds, “were celebrities” whose works were widely read and whose ideas were discussed on the radio and in newspapers and magazines. Book publishing thrived, fueled by demand, not least among returning soldiers, who had hungrily devoured free books published under the auspices of the Armed Services Editions. Public libraries and the proliferation of inexpensive paperbacks made books available to a huge reading public. Colleges began creative writing programs, and New Criticism came to dominate English department offerings. Hutchinson attentively examines works by a pantheon of writers, some of whom have become canonical (Carson McCullers, Randall Jarrell, Richard Wright), some enjoying popular contemporary acclaim (Irwin Shaw, Jo Sinclair, Howard Fast); he also draws on influential literary critics, such as Lionel Trilling; memoirists, such as Alfred Kazin; and historians. Hutchinson appears to have read everything written during the prolific decade. Among the themes that recurred in 1940s literature was the war itself, where a “sense of separation, of loneliness and unreality, surfaces over and over again, in accounts of both the battlefront and the home front.” Writers expressed disillusionment about what they were fighting for, hatred toward their officers, and fear of being ground up “in the maw of history.” Hutchinson devotes chapters to Jewish and African-American writers who negotiated the relationship among ethnic, religious, and racial identity “and the ideal of universality or a planetary humanism” that arose after the horror of the war. Einstein notably suggested that “the only solution for civilization and the human race lies in the creation of a world government.” Planetary humanism, however, was undermined by pervasive racism, anti-Semitism, homophobia, and misogyny.
A richly detailed investigation of burgeoning creativity in a decade marked by both hope and dread.Pub Date: Jan. 16, 2018
ISBN: 978-0-231-16338-5
Page Count: 448
Publisher: Columbia Univ.
Review Posted Online: Oct. 29, 2017
Kirkus Reviews Issue: Nov. 15, 2017
A zesty, energetic history, not only of a building, but of more than a century of American culture.
A revealing biography of the fabled Manhattan hotel, in which generations of artists and writers found a haven.
Turn-of-the century New York did not lack either hotels or apartment buildings, writes Tippins (February House: The Story of W. H. Auden, Carson McCullers, Jane and Paul Bowles, Benjamin Britten, and Gypsy Rose Lee, Under One Roof In Wartime America, 2005). But the Chelsea Hotel, from its very inception, was different. Architect Philip Hubert intended the elegantly designed Chelsea Association Building to reflect the utopian ideals of Charles Fourier, offering every amenity conducive to cooperative living: public spaces and gardens, a dining room, artists’ studios, and 80 apartments suitable for an economically diverse population of single workers, young couples, small families and wealthy residents who otherwise might choose to live in a private brownstone. Hubert especially wanted to attract creative types and made sure the building’s walls were extra thick so that each apartment was quiet enough for concentration. William Dean Howells, Edgar Lee Masters and artist John Sloan were early residents. Their friends (Mark Twain, for one) greeted one another in eight-foot-wide hallways intended for conversations. In its early years, the Chelsea quickly became legendary. By the 1930s, though, financial straits resulted in a “down-at-heel, bohemian atmosphere.” Later, with hard-drinking residents like Dylan Thomas and Brendan Behan, the ambience could be raucous. Arthur Miller scorned his free-wheeling, drug-taking, boozy neighbors, admitting, though, that the “great advantage” to living there “was that no one gave a damn what anyone else chose to do sexually.” No one passed judgment on creativity, either. But the art was not what made the Chelsea famous; its residents did. Allen Ginsberg, Bob Dylan, Andy Warhol, Janis Joplin, Leonard Cohen, Robert Mapplethorpe, Phil Ochs and Sid Vicious are only a few of the figures populating this entertaining book.
A zesty, energetic history, not only of a building, but of more than a century of American culture.Pub Date: Dec. 3, 2013
ISBN: 978-0-618-72634-9
Page Count: 448
Publisher: Houghton Mifflin Harcourt
Review Posted Online: Sept. 18, 2013
Kirkus Reviews Issue: Oct. 1, 2013
BOOK REVIEW
A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.
Photographer and author Stanton returns with a companion volume to Humans of New York (2013), this one with similarly affecting photographs of New Yorkers but also with some tales from his subjects’ mouths.
Readers of the first volume—and followers of the related site on Facebook and elsewhere—will feel immediately at home. The author has continued to photograph the human zoo: folks out in the streets and in the parks, in moods ranging from parade-happy to deep despair. He includes one running feature—“Today in Microfashion,” which shows images of little children dressed up in various arresting ways. He also provides some juxtapositions, images and/or stories that are related somehow. These range from surprising to forced to barely tolerable. One shows a man with a cat on his head and a woman with a large flowered headpiece, another a construction worker proud of his body and, on the facing page, a man in a wheelchair. The emotions course along the entire continuum of human passion: love, broken love, elation, depression, playfulness, argumentativeness, madness, arrogance, humility, pride, frustration, and confusion. We see varieties of the human costume, as well, from formalwear to homeless-wear. A few celebrities appear, President Barack Obama among them. The “stories” range from single-sentence comments and quips and complaints to more lengthy tales (none longer than a couple of pages). People talk about abusive parents, exes, struggles to succeed, addiction and recovery, dramatic failures, and lifelong happiness. Some deliver minirants (a neuroscientist is especially curmudgeonly), and the children often provide the most (often unintended) humor. One little boy with a fishing pole talks about a monster fish. Toward the end, the images seem to lead us toward hope. But then…a final photograph turns the light out once again.
A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.Pub Date: Oct. 13, 2015
ISBN: 978-1-250-05890-4
Page Count: 432
Publisher: St. Martin's
Review Posted Online: July 27, 2015
Kirkus Reviews Issue: Aug. 15, 2015
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