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ISBN 10: 0252080939 ISBN 13: 9780252080937
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In den WarenkorbPaperback. Zustand: New. The Black Cultural Front describes how the social and political movements that grew out of the Depression facilitated the left turn of several African American artists and writers. The Communist-led John Reed Clubs brought together black and white writers in writing collectives. The Congress of Industrial Organizations's effort to recruit black workers inspired growing interest in the labor movement. One of the most concerted efforts was made by the National Negro Congress (NNC), a coalition of civil rights and labor organizations, which held cultural panels at its national conferences, fought segregation in the culture industries, promoted cultural education, and involved writers and artists in staging mass rallies during World War II.The formation of a black cultural front is examined by looking at the works of poet Langston Hughes, novelist Chester Himes, and cartoonist Ollie Harrington. While none of them were card-carrying members of the Communist Party, they all participated in the Left at one point in their careers. Interestingly, they all turned to creating popular culture in order to reach the black masses who were captivated by the movies, radio, newspapers, and detective novels. There are chapters on the Hughes' ""Simple"" stories, Himes' detective fiction, and Harrington's ""Bootsie"" cartoons.Collectively, the experience of these three figures contributes to the story of a ""long"" movement for African American freedom that flourished during the 1930s, 1940s, and 1950s. Yet this book also stresses the impact that McCarthyism had on dismantling the Black Left and how it affected each individual involved. Each was radicalized at a different moment and for different reasons. Each suffered for their past allegiances, whether fleeing to the haven of the ""Black Bank"" in Paris, or staying home and facing the House Un-American Activities Committee (HUAC). Yet the lasting influence of the Depression in their work was evident for the rest of their lives.
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Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. First Edition. Tight unmarked book in crisp dust jacket. ; 10.1 X 6.9 X 1.3 inches; 336 pages.
Sprache: Englisch
Verlag: University of Illinois Press, 2013
ISBN 10: 0252037693 ISBN 13: 9780252037696
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Sprache: Englisch
Verlag: University Press of Mississippi, 2012
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In den WarenkorbZustand: New. KlappentextrnrnDescribes how the social and political movements that grew out of the Depression facilitated the left turn of several African American artists and writers. The formation of a black cultural front is examined by looking at the work.
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ISBN 10: 0252037693 ISBN 13: 9780252037696
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In den WarenkorbPaperback. Zustand: New. The Black Cultural Front describes how the social and political movements that grew out of the Depression facilitated the left turn of several African American artists and writers. The Communist-led John Reed Clubs brought together black and white writers in writing collectives. The Congress of Industrial Organizations's effort to recruit black workers inspired growing interest in the labor movement. One of the most concerted efforts was made by the National Negro Congress (NNC), a coalition of civil rights and labor organizations, which held cultural panels at its national conferences, fought segregation in the culture industries, promoted cultural education, and involved writers and artists in staging mass rallies during World War II.The formation of a black cultural front is examined by looking at the works of poet Langston Hughes, novelist Chester Himes, and cartoonist Ollie Harrington. While none of them were card-carrying members of the Communist Party, they all participated in the Left at one point in their careers. Interestingly, they all turned to creating popular culture in order to reach the black masses who were captivated by the movies, radio, newspapers, and detective novels. There are chapters on the Hughes' ""Simple"" stories, Himes' detective fiction, and Harrington's ""Bootsie"" cartoons.Collectively, the experience of these three figures contributes to the story of a ""long"" movement for African American freedom that flourished during the 1930s, 1940s, and 1950s. Yet this book also stresses the impact that McCarthyism had on dismantling the Black Left and how it affected each individual involved. Each was radicalized at a different moment and for different reasons. Each suffered for their past allegiances, whether fleeing to the haven of the ""Black Bank"" in Paris, or staying home and facing the House Un-American Activities Committee (HUAC). Yet the lasting influence of the Depression in their work was evident for the rest of their lives.
Sprache: Englisch
Verlag: University Press of Mississippi, 2012
ISBN 10: 1617032697 ISBN 13: 9781617032691
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Zustand: Sehr gut. Zustand: Sehr gut | Seiten: 288 | Sprache: Englisch | Produktart: Bücher | How the aftermath of the Great Depression convinced several African American writers to adopt a leftist outlook "Brian Dolinar's The Black Cultural Front is essential reading for students and scholars of the African American Left. Deeply researched and eye-opening, Dolinar brings up challenging questions about the politics of popular culture to provide a rare, ingenious, and powerfully argued reconceptualization of the literary and artistic achievements of three major black radicals." -Alan Wald, H. Chandler Davis Collegiate Professor, University of Michigan The Black Cultural Front describes how the social and political movements that grew out of the Depression facilitated the left turn of several African American artists and writers. This book examines the formation of a black cultural front by looking at the works of poet Langston Hughes, novelist Chester Himes, and cartoonist Ollie Harrington. While none of these writers were card-carrying members of the Communist Party, they all participated in the Left during their careers. Interestingly, they all turned to creating popular culture in order to reach the black masses who were captivated by movies, radio, newspapers, and detective novels. There are chapters on Hughes's "Simple" stories, Himes's detective fiction, and Harrington's "Bootsie" cartoons. Collectively, the experience of these three figures contributes to the story of a "long" movement for African American freedom that flourished during the 1930s, 1940s, and 1950s. Yet this book also stresses the impact that McCarthyism had on dismantling the Black Left and how it affected each individual involved. Each was radicalized at a different moment and for different reasons. Each suffered for their past allegiances, whether fleeing to the haven of the "Black Bank" in Paris or staying home and facing the House Un-American Activities Committee. Yet the lasting influence of the Depression in their work was evident for the rest of their lives. Brian Dolinar teaches in the department of African American studies at the University of Illinois at Urbana-Champaign. His articles have appeared in Langston Hughes Review, Southern Quarterly, and Studies in American Humor.