In the first half of the 20th century, the US South lagged behind the Northeast in social and economic development, but in the 1920s and 1930s writers from the US South produced texts that used modernist aesthetic forms to depict poor, rural living conditions. This essay argues that ruralism in the South was a product of modernization, and that cultural development in southern literature preceded modernization, yielding texts that employ a discontinuous narrative technique to depict the rural regions, such as William Faulkner's As I Lay Dying and James Agee's and Walker Evans Let Us Now Praise Famous Men.

Afong Moy came to the United States in 1834 as a popular attraction, and remained in the public spotlight until 1850. Her very presence as the first recorded Chinese woman on American soil prompted a heated national discussion regarding how to accommodate the Chinese living among Americans. A two-tiered paradigm that emerged from this dialogue disparaged Chinese culture while extending paternalistic care to Moy, pushing her toward acculturation, which was to be realized in a symbolic way after her disappearance from the exhibition stage. The pattern was not exclusive to Moy; rather, it was a general strategy that Americans had adopted to deal with the small but growing number of Chinese present in the United States prior to the widespread and virulent anti-Chinese sentiment that later engulfed American society. This study therefore sheds light on the oft-neglected early stage of Sino-American relations occurring within American borders.

This essay examines Lawd Today!, Richard Wright's posthumously published novel, written in the 1930s but only made available to readers in 1963. Concentrating on the epigraphs that punctuate the novel, the essay demonstrates the significance of the social criticism of the 1910s and 1920s to Wright's formation as literary artist. In particular, Wright was drawn to the writings of the Young American critics, including Van Wyck Brooks and Waldo Frank, whose criticisms of national ideologies furthered a commitment to “Americanism” as a horizon of social and cultural renewal. Wright's intellectual immersion in early twentieth-century US social criticism gave Lawd Today! a Young American critical imprint. Drawing upon the work of Ernesto Laclau on “populism,” the essay reads Wright's novel as invested in an “Americanism” that seeks to describe common features of early twentieth-century black migrant experience in the urban North in terms of larger national and modern dynamics.

The histories of Tijuana and Hollywood have long been deeply intertwined, leading critics to argue that American cinema was instrumental in constructing the city's reputation as a dark, seedy and amoral space. However, the 1957 film The Tijuana Story presents a clear contradiction between the way in which it is marketed to evoke the “black legend” of Tijuana and its socially conscious content, tracing the real life story of a Tijuanan journalist who was murdered for taking a stand against crime and corruption. Close analysis of The Tijuana Story's paradoxical representation of the city provides a more detailed understanding of Hollywood's relationship with Tijuana and offers a way of discussing the city without reducing it to any one singular mythology. As part of a larger body of films that use images of Mexico to explore left-wing and liberal politics, The Tijuana Story provides further evidence of the persistent connection between Mexico and social revolution in American cinema.

This article presents a case study of the filmmaker Stanley Kubrick, considering how his films can be considered an emotional response to the Holocaust, the legacy of European anti-Semitism, and stereotypes of the Jewish American woman. It will argue that there are various clues in Kubrick's films which produce Jewish moments; that is, where, through a complementary directing and acting strategy, in particular one of misdirection, the viewer is given the possibility of “reading Jewish,” albeit not with certainty, for Jewishness is “textually submerged.” Its focus is Kubrick's 1962 adaptation of Vladimir Nabokov's Lolita (1955), in particular the character of Charlotte Haze, played by Shelley Winters, especially in light of Kubrick's choice of casting for the role, and Winters's subsequent performance of it. It will conclude that Holocaust and anti-Semitic stereotypes/reverse stereotypes haunt Kubrick's version of Lolita as an emotional, yet sub-epidermis, presence.

At the end of the 1960s, the United States military was rocked by race-related violence and riots. Growing fears of black “militancy” eventually compelled the military's largely white leadership to implement policies aimed at ameliorating racial disparities. One of the most significant changes was the establishment of the Defense Race Relations Institute (DRRI) and the requirement that all troops partake in race relations education. Largely overlooked in histories of military race relations and rarely viewed in terms of its place in the larger landscape of US race relations, DRRI was founded to train the military's race relations educators. Its original curriculum and methodology, during the years 1971–74, represented a radical response to the problems of racism in the military, and central to its framework was a critique of whiteness as a nexus of racialized power. This paper attempts to present a complex understanding of the motivations involved in the founding of the DRRI as it historicizes the military's quest to contain race “militancy” through the establishment of DRRI.

This piece provides a detailed engagement with Don DeLillo's depiction of the 2003 Iraq War in his latest novel, Point Omega. Framed through both formal aesthetic signposting of the interrelations between modernist and postmodernist practice and also through explicit thematic comparison between the conflicts, I trace DeLillo's treatment of Iraq in Point Omega back to his earlier writing on the Cold War in Underworld and focus upon the ways in which this comparative historical metaphor can be read with particular emphasis upon its implications for the nation-1state.

Don Lee reworked his eight magazine stories to varying degrees, arranged the sequence of the stories in a specific order, and published a short-story cycle in 2001. Significantly, the writer changed the ethnic identity of some characters from white American to Asian American. He also added and highlighted Asian American themes and issues. In short, Lee made an “Asian American” short-story cycle par excellence by coloring his stories yellow. This essay examines Lee's rewriting and arrangement of his magazine stories for an Asian American short-story cycle. It first compares the differences between the magazine and cycle versions of the stories. It goes on to examine totalizing devices such as the common setting, recurrent places, connective characters, and unifying themes. Lastly, it elucidates the arrangement of the eight stories and significance of the title story in the cycle. It ultimately argues that Don Lee retrofitted his magazine stories extensively and meticulously for a short-story cycle in order to portray the diverse aspects of post-immigrant Asian America at the turn of the century from his positionality as a third-generation Korean American.