By Takayoshi Ichiro
Ichiro Takayoshi's e-book argues that global battle II remodeled American literary tradition. From the mid-1930s to the yank access into global warfare II in 1941, pre-eminent figures from Ernest Hemingway to Reinhold Neibuhr answered to the flip of the public's curiosity from the industrial melancholy at domestic to the risk of totalitarian structures in a foreign country by means of generating novels, brief tales, performs, poems, and cultural feedback within which they prophesied the arrival of a moment global struggle and explored how the USA might organize for it. the range of competing solutions provided a wealthy legacy of idioms, symbols, and traditional arguments that have been destined to license America's merchandising of its values and pursuits around the globe for the remainder of the 20 th century. formidable in scope and addressing a big variety of writers, thinkers, and artists, this booklet is the 1st to set up the outlines of yankee tradition in this pivotal interval.
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Extra resources for American Writers and the Approach of World War II, 1935–1941 : A Literary History
Foreign wars, America’s mission, democracy, freedom, tyranny – these words were not abstractions suspended in a metaphysical vacuum. Their meanings changed because they were dependent on the context, which was in turn determined as much by accidents of geography as by the weight of history. Was America responsible for the survival of democracy in general? How about the survival of democracy in China? Or democracy in Europe, in Africa, or in Latin America? If democracy were to be defended under the aspect of eternity, these geographical qualiﬁcations must not inﬂuence how to answer these questions.
On the threat posed by foreign dictatorships to democracy, however, there was a happy concord: they all abhorred totalitarianism, whether headquartered in Berlin, Rome, Moscow, or Tokyo. International themes deﬁned the majority of their productions between 1938 and 1941: Abe Lincoln in Illinois (1938), Key Largo (1939), No Time for Comedy (1939), There Shall Be No Night (1940), American Landscape (1940), Journey to Jerusalem (1940), Candle in the Wind (1941), and Flight to the West (1941). These plays explored the social responsibility of a comedy writer living in serious times, rang the tocsin against dictatorships, advertised the bravery of democratic nations stemming the tides of global fascism, and sensationalized deviltries of Nazi thugs and tribulations of European refugees.
Hailing from a small town in the Midwest, like Joe Bonham, he is young, innocent, and wholesome. 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.