000			03541cam a2200433 i 4500
001			on1028585654
003			OCoLC
005			20181217003004.0
008			180418t20182018mau b 001 0 eng c
010			_a 2018012877
040			_aMH/DLC _beng _erda _cDLC _dOCLCO _dBDX _dOCLCF _dERASA _dYDX _dOCLCO _dOBE _dDYJ _dUKMGB _dQGK _dNYP _dNFG
015			_aGBB8J6270 _2bnb
016	7		_a019102523 _2Uk
019			_a1028650547 _a1062350972
020			_a9780674986961 _qhardcover ; _qalkaline paper
020			_a0674986962 _qhardcover ; _qalkaline paper
035			_a(OCoLC)1028585654 _z(OCoLC)1028650547 _z(OCoLC)1062350972
042			_apcc
043			_an-us---
092			_a810.9358 _bS733
049			_aNFGA
100	1		_aSpahr, Juliana, _eauthor. _9288751
245	1	0	_aDu Bois's telegram : _bliterary resistance and state containment / _cJuliana Spahr.
264		1	_aCambridge, Massachusetts : _bHarvard University Press, _c2018.
264		4	_c©2018
300			_a246 pages ; _c22 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references (pages 197-224) and index.
505	0		_aIntroduction -- Turn of the twenty-first century : a possible literature of resistance -- Stubborn nationalism : example one, avant garde modernism -- Stubborn nationalism : example two, movement literatures -- Turn of the twenty-first century : the national tradition -- Conclusion.
520			_aIn 1956 W.E.B. Du Bois was denied a passport to attend the Présence Africaine Congress of Black Writers and Artists in Paris. So he sent the assembled a telegram. "Any Negro-American who travels abroad today must either not discuss race conditions in the United States or say the sort of thing which our State Department wishes the world to believe." Taking seriously Du Bois's allegation, Juliana Spahr breathes new life into age-old questions as she explores how state interests have shaped U.S. literature. What is the relationship between literature and politics? Can writing be revolutionary? Can art be autonomous, or is escape from nations and nationalisms impossible? Du Bois's Telegram brings together a wide range of institutional forces implicated in literary production, paying special attention to three eras of writing that sought to defy political orthodoxies by contesting linguistic conventions: avant-garde modernism of the early twentieth century; social-movement writing of the 1960s and 1970s; and, in the twenty-first century, the profusion of English-language works incorporating languages other than English. Spahr shows how these literatures attempted to assert their autonomy, only to be shut down by FBI harassment or coopted by CIA and State Department propagandists. Liberal state allies such as the Ford and Rockefeller foundations made writers complicit by funding multiculturalist works that celebrated diversity and assimilation while starving radical anti-imperial, anti-racist, anti-capitalist efforts. Spahr does not deny the exhilarations of politically engaged art. But her study affirms a sobering reality: aesthetic resistance is easily domesticated.-- _cProvided by publisher.
650		0	_aAmerican literature _xPolitical aspects. _9381174
650		0	_aPolitics and literature _zUnited States. _9296289
650		0	_aNationalism and literature _zUnited States. _9210756
650		0	_aPolitical correctness in literature. _9381175
650		0	_aLiberty in literature. _9381176
994			_aC0 _bNFG
999			_c285106 _d285106