By Ichiro Takayoshi
Ichiro Takayoshi's booklet argues that global struggle II reworked American literary tradition. From the mid-1930s to the yank access into global conflict II in 1941, preeminent figures from Ernest Hemingway to Reinhold Neibuhr spoke back to the flip of the public's curiosity from the commercial melancholy at domestic to the risk of totalitarian platforms out of the country via generating novels, brief tales, performs, poems, and cultural feedback during which they prophesied the arriving of a moment international warfare and explored how the United States might organize for it. the diversity of competing solutions provided a wealthy legacy of idioms, symbols, and conventional arguments that was once destined to license America's merchandising of its values and pursuits around the globe for the remainder of the 20th century. formidable in scope and addressing a big diversity of writers, thinkers, and artists, this e-book is the 1st to set up the outlines of yank tradition in this pivotal interval.
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Additional info for American Writers and the Approach of World War II, 1930-1941: A Literary History
The enemy’s representation is too impersonal to harden the listener’s emotion. The only emotional state that remains for the listener is that of alarm, the feeling of being spooked out, which may give rise to the resolve to apply the village’s lesson to his own situation. Another Pulitzer Prize–winning poet Stephen Vincent Bénet also trafﬁcked in the fear of air raids. After the outbreak of war in Europe, the author of the national epic John Brown’s Body (1928) and former cryptographer for From Depression to War 37 the State Department during the last war (fearing the Army would reject him for his poor eyesight, Bénet memorized an eye exam chart and managed to be sworn in, but the military soon discovered his severe myopia and discharged him) lent his patriotic credential to several propaganda campaigns.
The realities and achievements of America’s massive intervention in a European imperial feud compelled no reconsideration of his position. He was at the forefront of the postwar boom of literature of disenchantment, coauthoring with Laurence Stallings (who lost a leg in the war) What Price the Glory (1924), a rather freakishly vulgar antiwar comedy and his ﬁrst critical and commercial success. 24 The doctrine of the Jazz Age gainsaid the absolute diﬀerence between good and evil. ” Furthermore, that doctrine also betook the Lost Generation writers (“bruised and decimated from this Victorian war,” as F.
An upright accountant responsible for the city’s book, he discovers one day an irregularity and reports it to his superiors. His unsuspecting conscientiousness costs him dearly. Fearful of exposure, a gang of peculators in the city hall scapegoat Long. A public outrage ensues, and it quickly spirals out of control. Egged on by a demagogic district attorney, local newspapers make wild accusations: Long is a paciﬁst, a Communist, a saboteur, a ﬁfth columnist. At this point, a ghost of his namesake Andrew Jackson comes to Long’s rescue, accompanied by a brigade of other patriots: George Washington, Benjamin Franklin, John Marshall, and Thomas Jeﬀerson.