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This book tests critical reassessments of US radical writing of the 1930s against recent developments in theories of modernism and the avant-garde. Multidisciplinary in approach, it considers poetry, fiction, classical music, commercial art, jazz, and popular contests (such as dance marathons and bingo). Relating close readings to social and economic contexts over the period 1856–1952, it centers in on a key author or text in each chapter, providing an unfolding, chronological narrative, while at the same time offering nuanced updates on existing debates. Part One focuses on the roots of the 1930s proletarian movement in poetry and music of the nineteenth and early twentieth centuries. Part Two analyzes the output of proletarian novelists, considered alongside contemporaneous works by established modernist authors as well as more mainstream, popular titles.
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Modernism and the Practice of Proletarian Literature Simon Cooper
Modernism and the Practice of Proletarian Literature
Simon Cooper
Modernism and the Practice of Proletarian Literature
Simon Cooper School of Education Services Newcastle College Newcastle upon Tyne, UK
ISBN 978-3-030-35194-6 ISBN 978-3-030-35195-3 (eBook) https://doi.org/10.1007/978-3-030-35195-3 © The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2020 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Dedicated to the memories of E.B. and K.C.
Acknowledgements
This project began as a Ph.D. thesis, so none of it would really have happened were it not for the encouragement and expertise of John Beck. Thanks also for invaluable suggestions from James Annesley and Dick Ellis. Many thanks to all at Newcastle who helped over the years, especially Kim Reynolds, and to Julie Taylor and Brian Ward at Northumbria. Much appreciated support and interest came from Charlotte Neely at Liverpool John Hopkins. In America, thanks to Julie Herrada at the Labadie Collection, University of Michigan—and Lawrence Hanley at San Francisco State. Sincere regards to the anonymous readers at Palgrave and to Tomas René and Vicky Bates. At home, thanks as ever to my mum for support and provocation and also to Detta for vital backup. Thanks Jane. Lastly thanks to Caroline for infinite patience, most of the time.
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Contents
1 Introduction 1 Part I Words and Music 2 Yes, but Is It Art? The Revolutionary Transformations