By Ichiro Takayoshi
Ichiro Takayoshi's booklet argues that international battle II reworked American literary tradition. From the mid-1930s to the yank access into international conflict II in 1941, preeminent figures from Ernest Hemingway to Reinhold Neibuhr spoke back to the flip of the public's curiosity from the industrial melancholy at domestic to the risk of totalitarian platforms in a foreign country by way of generating novels, brief tales, performs, poems, and cultural feedback during which they prophesied the arriving of a moment international conflict and explored how the United States might organize for it. the range of competing solutions provided a wealthy legacy of idioms, symbols, and conventional arguments that used to be destined to license America's merchandising of its values and pursuits world wide for the remainder of the 20 th century. formidable in scope and addressing a tremendous variety of writers, thinkers, and artists, this e-book is the 1st to set up the outlines of yankee tradition in this pivotal interval.
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Additional info for American Writers and the Approach of World War II, 1935-1941: A Literary History
As a matter of fact, Miller’s verse story proved to be the biggest commercial success for this proliﬁc novelist, essayist, and dramatist. 35 Miller took it out on a nationwide reading tour. Lynn Fontanne read it on the radio and recorded it. 36 The timing was opportune. After three months of congressional wrangling, the Lend-Lease was just signed into law. ” Miller’s long poem, which span ﬁfty-two rhythmical stanzas, sought to tighten the spiritual and racial tie between the two English-speaking nations with a story about a Yankee woman from Rhode Island, Susan Dunne, who marries into an old English family in Devon.
The writers’ task would be straightforward: to rationalize this crude military objective in idealized terms. In peace, by sharp contrast, there would be no consensus, due to class antagonism and racism, on the goals and means of democratic reform at home, which would force liberal writers to be more inventive. In 1917, Bourne concluded, American intellectuals told themselves that war was inevitable and necessary because they were mentally lazy. Most likely, many objects of Bourne’s attack did not fathom the full depth of his insight, but his most basic lesson was plain enough to learn.
The play is set in a resort hotel on the AustrianItalian border, where a motley group of tourists are trapped. Rumors of an imminent world war are abroad and the trains would not cross the border. Familiar observations on America’s naïve idealism, the munitions industry, febrile chauvinism in European powers, the Communists’ slogan of antifascist international solidarity, Germany’s incurable irredentism, and Britain’s erratic continental policy are aired through characters representing all nations and all political stripes: a German doctor, a British couple on their honeymoon trip, a French Communist, a merchant of death, a Russian countess (Lynn Fontanne), and Harry (Alfred Lunt), an American vaudeville impresario on tour in Europe with a troupe of leggy blonde chorines.