- Taschenbuch: 338 Seiten
- Verlag: Univ of North Carolina Pr (30. September 2000)
- Sprache: Englisch
- ISBN-10: 0807848662
- ISBN-13: 978-0807848661
- Größe und/oder Gewicht: 23,6 x 14,6 x 2,2 cm
- Amazon Bestseller-Rang: Nr. 331.400 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
From Library Journal
Garman (history, Sidwell Friends Sch., Washington, DC) examines the legacy and limitations of the Whitmanesque working-class hero since the turn of the century. Beginning with Whitman himself, he describes the poet's republican vision of an egalitarian social order within the parameters of a white, male-dominated, individualistic society. The author charts the radicalization of Whitman's ideals from 1892 to 1940 by such leftists as Socialist Horace Traubel and Communist editor Michael Gold. Garman then finds the embodiment of Whitman's wandering people's poet in folksinger Woody Guthrie, who sang about social justice for all men and women while drifting alone down the open roads of America. He ends with Guthrie's direct link to the New Left and Bob Dylan, his fall from radical grace, and his reinstatement by Bruce Springsteen, who continued to preach the contradictory goals of working-class solidarity and the supremacy of the individual spirit. Well written, well researched, and provocative, this book provides an interesting interpretation of three popular music icons and their connection to the Whitman tradition. Highly recommended for social historians.DDavid Szatmary, Univ. of Washington, Seattle
Copyright 2000 Reed Business Information, Inc.
Copyright 2000 Reed Business Information, Inc.
Synopsis
When Walt Whitman published "Leaves of Grass" in 1855, he dreamed of inspiring "a race of singers" who would celebrate the working class and realize the promise of American democracy. By examining how singers such as Woody Guthrie, Bob Dylan, and Bruce Springstein both embraced and reconfigured Whitman's vision, Bryan Garman shows that Whitman succeeded. In doing so, Garman celebrates the triumphs yet also exposes the limitations of Whitman's legacy. While Whitman's verse propounded notions of sexual freedom and renounced the competitiveness of capitalism, it also safeguarded the interests of the white workingman, often at the expense of women and people of colour. Garman describes how each of Whitman's successors adopted the mantle of the working-class hero while adapting the role to his own generation's concerns: Guthrie condemned racism in the 1930s, Dylan addressed race and war in the 1960s and Springstein explored sexism, racism and homophobia in the 1980s and 1990s. But as Garman points out, even the Boss, like his forebears, tends to represent solidarity in terms of white male bonding and homosocial allegiance.We can hear America singing in the voices of these artists, Garman says, but it is still the song of a white, male America.
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8 von 8 Kunden fanden die folgende Rezension hilfreich
New Academic Insight on Springsteen
21. September 2000
Format:Taschenbuch
As a cultural figure of the late 20th century Bruce Springsteen has long been admired as well as the object of derision in some circles. Garman's work places Springsteen in a context far removed from the fickle nature of fame. By linking Springsteen with Guthrie and with Whitman Garman allows us to appreciate Springsteen as far more than his icon status as "the boss", but rather as the latest in a long line of cultural critics who allow us to "hold a mirror up to nature" as Shakespeare had Hamlet say long ago. Garman's book is not just for an admirer of Springsteen, but also for anyone with an appreciation for social commentary and its long rich history in the US.
6 von 6 Kunden fanden die folgende Rezension hilfreich
Very well written
26. Januar 2001
Format:Taschenbuch
Garman's analysis of Springsteen, Dylan, Guthrie, and Whitman is very provocative. Especially his insights into Springsteen and the way in which his music played off against (or was interpreted as being in sync with) Reagan's politics, and pop culture in the 80s, such as Rambo. Definitely a worthwhile read for someone who considers her or himself a fan of any of the aforementioned singers, or someone interested in an in-depth analysis of the politics of these singers.
4 von 4 Kunden fanden die folgende Rezension hilfreich
Expanding popular music horizons
26. Februar 2001
Format:Taschenbuch
Bryan Garman's book provides an indepth study of those singer-songwriters who, according to the author, follow in Whitman's footsteps. He analyzes Woody Guthrie and Springsteen's work thoroughly. The consideration of Guthrie's "hurt song" is fascinating. The author also makes a good case for expanding our horizons beyond the white male heterosexual dominant order. I was rather taken aback to learn that some of my old favorite English folk club singalong songs smacked of homoeroticism. In particular, we are told that Tom Paxton's "Rambling Boy" is "a love song that contains and expresses a homoeroticism that permeated the work of socially engaged artists from Whitman to Traubel, Hughes to Guthrie" (p 159). Gosh, I wonder what Paxton would say about that! I agree with Mr. Garman, however, that much of this New Left rhetoric marginalizes women. That is why folks like Ani Di Franco seem far more engaging and even revolutionary than Springsteen. A Race of Singers has proved an invaluable book for me as I prepare my PhD dissertation at a Spanish university. I recommend it to anyone studying contemporary folk music and its place in recent history.
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