Review of: Dreaming the Graphic Novel: The Novelization of Comics, Paul Williams (2020) New Brunswick: Rutgers University Press, 278 pp., ISBN 978-1-97880-506-4, h/bk, $120, ISBN 978-1-97880-507-1, p/bk, $29.95
{"title":"Dreaming the Graphic Novel: The Novelization of Comics, Paul Williams (2020)","authors":"Eszter Szép","doi":"10.1386/EJAC_00042_5","DOIUrl":"https://doi.org/10.1386/EJAC_00042_5","url":null,"abstract":"Review of: Dreaming the Graphic Novel: The Novelization of Comics, Paul Williams (2020)\u0000New Brunswick: Rutgers University Press, 278 pp.,\u0000ISBN 978-1-97880-506-4, h/bk, $120,\u0000ISBN 978-1-97880-507-1, p/bk, $29.95","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":"40 1","pages":"93-95"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47099755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
How do marginalized ethnic communities assert their presence in the American urban space? This article examines maps and location descriptions found in ‘Rock Angelino’ concert flyers, lyrics of songs, and spoken word multimedia pieces as examples of ‘mapping from below’ practices from the 1990s to the near present, which Latinxs have used to place themselves in the historical geography and cultural imaginary of Los Angeles. While people of Latin American descent have been part of Los Angeles since its founding, their presence has often been neglected and diminished in the maps created by government agencies, and in more recent times, by gentrifying real estate enterprises that inaccurately portray the past and present of Los Angeles as a White space with few selective geographical locations of communities of colour. By employing critical geography and cultural history methodologies, this piece demonstrates how Latinxs have been cartographers of their own communities. Most significantly how Latinxs employed their words and sounds as mapping tools with which to chart, examine, narrate and make visible the rich layered histories of Latinxs and communities of colour in Southern California.
{"title":"Mapping the city from below: Approaches in charting out Latinx historical and quotidian presence in metropolitan Los Angeles: 1990–2020","authors":"Jorge N. Leal","doi":"10.1386/EJAC_00035_1","DOIUrl":"https://doi.org/10.1386/EJAC_00035_1","url":null,"abstract":"How do marginalized ethnic communities assert their presence in the American urban space? This article examines maps and location descriptions found in ‘Rock Angelino’ concert flyers, lyrics of songs, and spoken word multimedia pieces as examples of ‘mapping from below’ practices from the 1990s to the near present, which Latinxs have used to place themselves in the historical geography and cultural imaginary of Los Angeles. While people of Latin American descent have been part of Los Angeles since its founding, their presence has often been neglected and diminished in the maps created by government agencies, and in more recent times, by gentrifying real estate enterprises that inaccurately portray the past and present of Los Angeles as a White space with few selective geographical locations of communities of colour. By employing critical geography and cultural history methodologies, this piece demonstrates how Latinxs have been cartographers of their own communities. Most significantly how Latinxs employed their words and sounds as mapping tools with which to chart, examine, narrate and make visible the rich layered histories of Latinxs and communities of colour in Southern California.","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":"40 1","pages":"5-26"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45833651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article I explore Joan Didion’s novel Play It as It Lays (1970) and her family memoir Where I Was From (2003) in order to assess and compare the ways in which she articulates the telling of both fictional character narratives and ostensibly factual historical tales, both taking place in parts of the California with which she is so intimately familiar. In Play It, Maria Wyeth tries to escape her past through the repression, curtailment and editing of her memories. On the winding freeways of Los Angeles, she feels she can remain in the present and blank out painful memories by looking ahead. ‘Never look back at all’ is the California mantra that she tries to personify (Didion 2003: 199). In Where I, Didion analyses her own culpability in the mythologization of her home state and the failure of her own narrative authority. What can Didion’s fiction and non-fiction, both populated and cultivated by unreliable narrators, tell us about the way history is told, myths of origin perpetuated and memory fabricated, and what might this signify about storytelling in California more generally?
{"title":"Damnatio Memoriae in California: Joan Didion’s Play It as It Lays and Where I Was From","authors":"Alice Levick","doi":"10.1386/EJAC_00038_1","DOIUrl":"https://doi.org/10.1386/EJAC_00038_1","url":null,"abstract":"In this article I explore Joan Didion’s novel Play It as It Lays (1970) and her family memoir Where I Was From (2003) in order to assess and compare the ways in which she articulates the telling of both fictional character narratives and ostensibly factual historical tales, both taking place in parts of the California with which she is so intimately familiar. In Play It, Maria Wyeth tries to escape her past through the repression, curtailment and editing of her memories. On the winding freeways of Los Angeles, she feels she can remain in the present and blank out painful memories by looking ahead. ‘Never look back at all’ is the California mantra that she tries to personify (Didion 2003: 199). In Where I, Didion analyses her own culpability in the mythologization of her home state and the failure of her own narrative authority. What can Didion’s fiction and non-fiction, both populated and cultivated by unreliable narrators, tell us about the way history is told, myths of origin perpetuated and memory fabricated, and what might this signify about storytelling in California more generally?","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":"40 1","pages":"63-83"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44481063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Radiation Nation: Three Mile Island and the Political Transformation of the 1970s, Natasha Zaretsky (2018) New York: Columbia University Press, 312 pp., ISBN 978-0-23117-980-5, h/bk, $120/£100 ISBN 978-0-23117-981-2, p/bk, $35/£32
{"title":"Radiation Nation: Three Mile Island and the Political Transformation of the 1970s, Natasha Zaretsky (2018)","authors":"J. Beck","doi":"10.1386/EJAC_00039_5","DOIUrl":"https://doi.org/10.1386/EJAC_00039_5","url":null,"abstract":"Review of: Radiation Nation: Three Mile Island and the Political Transformation of the 1970s, Natasha Zaretsky (2018)\u0000New York: Columbia University Press, 312 pp.,\u0000ISBN 978-0-23117-980-5, h/bk, $120/£100\u0000ISBN 978-0-23117-981-2, p/bk, $35/£32","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":"40 1","pages":"85-87"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44064775","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Race and New Religious Movements in the USA: A Documentary Reader, Emily Suzanne Clark and Brad Stoddard (2019) London: Bloomsbury, 187 pp., ISBN 978-1-35006-396-9, p/bk, £21.99
{"title":"Race and New Religious Movements in the USA: A Documentary Reader, Emily Suzanne Clark and Brad Stoddard (2019)","authors":"Jennifer dos Reis dos Santos","doi":"10.1386/EJAC_00041_5","DOIUrl":"https://doi.org/10.1386/EJAC_00041_5","url":null,"abstract":"Review of: Race and New Religious Movements in the USA: A Documentary Reader, Emily Suzanne Clark and Brad Stoddard (2019)\u0000London: Bloomsbury, 187 pp.,\u0000ISBN 978-1-35006-396-9, p/bk, £21.99","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":"40 1","pages":"91-92"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43933943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article argues that the criminal plot at the heart of James M. Cain’s 1936 novel Double Indemnity is primarily one targeted against the structures of the modern corporation, embodied in the space of the office. Such an argument situates Cain’s novel as a striking intervention in a long tradition of anti-office discourse, a discourse in which clerical work and its spaces have persistently been framed as exemplifying urban modernity’s deleterious impact upon and occlusion of the supposed ‘frontier values’ of masculinity, individualism and risk. Walter Huff, the novel’s protagonist, is figured as an agent of those values, a ‘frontiersman’ whose assault upon his insurance firm employer constitutes an attempt to reinvest a regulated, systematized world with a sense of the unpredictable wilderness.
{"title":"‘You don’t even know how you know’: Double Indemnity as anti-office discourse","authors":"Mike Docherty","doi":"10.1386/EJAC_00036_1","DOIUrl":"https://doi.org/10.1386/EJAC_00036_1","url":null,"abstract":"This article argues that the criminal plot at the heart of James M. Cain’s 1936 novel Double Indemnity is primarily one targeted against the structures of the modern corporation, embodied in the space of the office. Such an argument situates Cain’s novel as a striking intervention in a long tradition of anti-office discourse, a discourse in which clerical work and its spaces have persistently been framed as exemplifying urban modernity’s deleterious impact upon and occlusion of the supposed ‘frontier values’ of masculinity, individualism and risk. Walter Huff, the novel’s protagonist, is figured as an agent of those values, a ‘frontiersman’ whose assault upon his insurance firm employer constitutes an attempt to reinvest a regulated, systematized world with a sense of the unpredictable wilderness.","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":"40 1","pages":"27-43"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49509198","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Vexy Thing: On Gender and Liberation, Imani Perry (2018) Durham, NC: Duke University Press, 294 pp., ISBN 978-1-47800-081-5, p/bk, $27.95
评论：《Vexy Thing:On Gender and Liberation》，Imani Perry（2018），北卡罗来纳州达勒姆：杜克大学出版社，294页，ISBN 978-1-47800-081-5，p/bk，27.95美元
{"title":"Vexy Thing: On Gender and Liberation, Imani Perry (2018)","authors":"Rebecca Crunden","doi":"10.1386/EJAC_00040_5","DOIUrl":"https://doi.org/10.1386/EJAC_00040_5","url":null,"abstract":"Review of: Vexy Thing: On Gender and Liberation, Imani Perry (2018)\u0000Durham, NC: Duke University Press, 294 pp.,\u0000ISBN 978-1-47800-081-5, p/bk, $27.95","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":"40 1","pages":"88-90"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44053719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article re-examines the First World War experience of renowned American crime fiction author Raymond Chandler in order to demonstrate that the established biographical account masks an experience more traumatic than previously acknowledged. Like Carlos Baker’s version of Ernest Hemingway’s wartime experience, Frank MacShane’s original biographical account relies heavily on small sections of Chandler’s own correspondence that are taken out of context. Later biographies have reproduced this vague and ambiguous account without much further investigation, which has permitted various theories about Chandler’s work to develop, most notably that his protagonist, the detective Philip Marlowe, is a knight errant. This article utilizes primary documents, including Chandler’s military file and the War Diaries of his battalion, to highlight discrepancies in existing biographical narratives, and unveils an account that is significantly different from that of his biographers. By understanding the true traumatic nature of Chandler’s experiences on the French front line, we are presented with a fresh and original perspective through which to reconsider his work and an understanding of how Chandler’s war experience helped establish the traditional archetype of detective fiction.
{"title":"‘Remembrance, alas, is a tricky business’: Memory and biography in the established account of Raymond Chandler’s experience of the First World War","authors":"S. Trott","doi":"10.1386/EJAC_00037_1","DOIUrl":"https://doi.org/10.1386/EJAC_00037_1","url":null,"abstract":"This article re-examines the First World War experience of renowned American crime fiction author Raymond Chandler in order to demonstrate that the established biographical account masks an experience more traumatic than previously acknowledged. Like Carlos Baker’s version of Ernest Hemingway’s wartime experience, Frank MacShane’s original biographical account relies heavily on small sections of Chandler’s own correspondence that are taken out of context. Later biographies have reproduced this vague and ambiguous account without much further investigation, which has permitted various theories about Chandler’s work to develop, most notably that his protagonist, the detective Philip Marlowe, is a knight errant. This article utilizes primary documents, including Chandler’s military file and the War Diaries of his battalion, to highlight discrepancies in existing biographical narratives, and unveils an account that is significantly different from that of his biographers. By understanding the true traumatic nature of Chandler’s experiences on the French front line, we are presented with a fresh and original perspective through which to reconsider his work and an understanding of how Chandler’s war experience helped establish the traditional archetype of detective fiction.","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":"40 1","pages":"45-62"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48531322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Special Issue introduction: Project Apollo and after","authors":"K. Heath","doi":"10.1386/ejac_00029_2","DOIUrl":"https://doi.org/10.1386/ejac_00029_2","url":null,"abstract":"","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":"39 1","pages":"241-247"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42860213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the 1960s, US and Soviet space efforts engaged in a surrogate space race at international expositions, displaying real and replica space hardware as a way of demonstrating their celestial achievements to an earthbound public. The following decade saw an uneasy détente between the Cold War superpowers that prompted a new rhetorical emphasis on space cooperation rather than competition that spilled over into transnational collaborations and exchanges between the curators of American and Soviet space exhibitions. Drawing on documents from the National Aeronautics and Space Administration and Smithsonian Institution archives in Washington, DC, this article reveals how competitive displays of space technology were reconfigured to sell US–Soviet space cooperation. Official government-sponsored cooperative exhibits were spectacular and bombastic, but détente also fostered a quieter, transnational process of exchange between Soviet and American curators. American curators at the Smithsonian’s newly opened National Air and Space Museum were eager to build ties with their Soviet counterparts. However, the collaborations that resulted from these ties often ended up reinforcing their museum’s nationalistic narrative rather than subverting it. The 1970s saw the emergence of a transnational community of professional space curators dedicated to memorializing the early space age, but 1970s space exhibitions continued to reflect the previous decade’s nationalistic competition.
{"title":"Curating the space race, celebrating cooperation: Exhibiting space technology during 1970s détente","authors":"Thomas B. Ellis","doi":"10.1386/ejac_00031_1","DOIUrl":"https://doi.org/10.1386/ejac_00031_1","url":null,"abstract":"During the 1960s, US and Soviet space efforts engaged in a surrogate space race at international expositions, displaying real and replica space hardware as a way of demonstrating their celestial achievements to an earthbound public. The following decade saw an uneasy détente between the Cold War superpowers that prompted a new rhetorical emphasis on space cooperation rather than competition that spilled over into transnational collaborations and exchanges between the curators of American and Soviet space exhibitions. Drawing on documents from the National Aeronautics and Space Administration and Smithsonian Institution archives in Washington, DC, this article reveals how competitive displays of space technology were reconfigured to sell US–Soviet space cooperation. Official government-sponsored cooperative exhibits were spectacular and bombastic, but détente also fostered a quieter, transnational process of exchange between Soviet and American curators. American curators at the Smithsonian’s newly opened National Air and Space Museum were eager to build ties with their Soviet counterparts. However, the collaborations that resulted from these ties often ended up reinforcing their museum’s nationalistic narrative rather than subverting it. The 1970s saw the emergence of a transnational community of professional space curators dedicated to memorializing the early space age, but 1970s space exhibitions continued to reflect the previous decade’s nationalistic competition.","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":"39 1","pages":"275-295"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66698865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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