Modernism on File: Writers, Artists, and the FBI, 1920-1950 brings together important new scholarship focused on J. Edgar Hoover’s FBI and its institutional presence in shaping and directing American print, film, and art culture. From Harlem to Hollywood, Hoover and his bureau workers were bent on decontaminating America’s creativity and this collection looks at the writers and artists who were tagged, tracked, and in some cases, trapped by the FBI. Contributors detail the threatening aspects of political power and critique the very historiography of modernism, acknowledging that modernism was on trial during those years.
Inhaltsverzeichnis
Silence, Acquiescence and Dread; C.A.Culleton & K.Leick Ghostreaders and Diaspora-Writers: Four Theses on the FBI and African-American Modernism; W.J.Maxwell Raising Muscovite Ducks and Government Suspicions: Henry Roth and the FBI; S.G.Kellman Telling Stories from Hemingway’s FBI File: Conspiracy, Paranoia, and Masculinity; D.Moddelmog Most Wanted: Claude Mc Kay and the ‚Black Specter‘ of African-American Poetry in the 1920s; J.Gosciak Madness, Paranoia, and Ezra Pound’s FBI File; K.Leick Figuring Hoover in Richard Wright’s Savage Holiday; A.Strombeck ‚Poetess Probed as Red‘: Muriel Rukeyser and the FBI; J.Perreault An Archive of the (Political) Unconscious: Jean Renoir at the FBI; C.Faulkner New Information from the FBI, CNDI LA-BB-1: The Phone Surveillance of Bertolt Brecht in Los Angeles; A.Stephan Sour Notes: Hanns Eisler and the FBI; J.Wierzbicki Communism, Perversion, and Other Crimes against the State: The FBI Files of Klaus and Erika Mann; A.Weiss Extorting Henry Holt& Co.: J. Edgar Hoover and the Publishing Industry; C.A.Culleton
Über den Autor
CLAIRE A. CULLETON is Professor of Modern British and Irish literature at Kent State University, USA.
KAREN LEICK is Assistant Professor of English at The Ohio State University at Lima, USA.
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