This article focusses on the career of Ben Burns, a white Jewish radical who came to play a central role in Chicago's black press during the mid-twentieth century. As an editor for periodicals such as the Chicago Defender, Negro Digest and Ebony, Burns helped to edit and develop some of the nation's most influential black publications. However, many of his readers remained oblivious to his racial identity – something which was both implicitly and explicitly obscured by his employers, and which was influenced by and manifested itself through the spatial politics of the workplace and the Chicago South Side. Drawing on a range of archival and biographical material, personal correspondence, and newspaper and magazine articles, this paper reconsiders Burns's literal movement through the terrain of Chicago's black press to assess his broader influence as a white editor in black journalism. Complicating depictions of Burns as a racial interloper, this article situates his contributions within a broader history of white participation in black print production. Furthermore, it demonstrates how the parameters of his role were heavily framed by the complex racial and spatial politics of the editorial room and Chicago's urban politics at mid-century.

During the 1950s and 1960s, conservative intellectuals in the United States described African decolonization and the civil rights movement as symptoms of a global threat to white, Western civilization. In the most influential conservative journal of the period, National Review, writers such as William F. Buckley grouped these events together as dangerous contributors to civilizational decline. In the crucible of transnational black revolt, some conservative intellectuals embraced scientific racism in the 1960s. These often-ignored features of conservative intellectual thought provided space for white supremacist ideals to continue to ferment on the American right into the twenty-first century.

American Muslims increasingly negotiate their relation to a government that is suspicious of Islam, yet which recognizes them as rights-bearing citizens, within a culture they claim as their own. To better understand how the post-9/11 state is reshaping American Islam, I examine the case of Muslim American dissident Tarek Mehanna, sentenced to seventeen years in prison in 2012 for providing material support for terrorism. I read Mehanna's verbal and visual depictions of his persecution in relation to the American dissidents Mehanna claims as intellectual predecessors, above all Henry David Thoreau and John Brown, while situating this dissent within a long history of American activism

2016 marked the twentieth anniversary of the establishment of the Martin Luther King Day, which honors the civil rights leader and recognizes the contributions of African Americans. However, the holiday has also become a day of debate over King's legacy and, in turn, over the (mis)use of the nation's civil religion. On the one hand, the civil religious narrative of enduring unity, of the Promised Land, and of King as the nation's redeemer, which evolved around the implementation of the holiday during the 1970s and early 1980s, appealed to a broad audience and forged a sense of unity. On the other hand, it also masked real progress and lead to a symbolic “pseudo-integration” of African Americans. Hence, as the ideals of the Declaration of Independence seemed to be finally achieved, it is not surprising that King has been succcessfully turned into a poster boy against affirmative action.

Melville Shavelson's Cast a Giant Shadow (1966) stands alongside Otto Preminger's Exodus (1960) as one of the most notable Hollywood films to center on the founding of Israel. In this paper I argue that Cast a Giant Shadow is less concerned with the peculiarities of the nascent stages of the Arab–Israeli conflict, and instead functions as an unabashed endorsement of American military interventionism in foreign conflicts at a time in which the United States was dramatically escalating its military presence in Vietnam. The film is positioned as the second installment in an unofficial trilogy of overtly propagandistic pro-interventionist cinema produced by John Wayne's production company Batjac in the 1960s, alongside The Alamo (1960), Wayne's directing debut, and the notoriously jingoistic pro-Vietnam War film The Green Berets (1968). My analysis of this largely overlooked entry in the Wayne oeuvre ultimately reveals how Israel enabled Wayne to effectively put his art at the service of his political beliefs.

Historians seeking to explain the late twentieth-century rightward shift of urban ethnic whites have tended to ignore the shifting meaning and content of white ethnic identity in this transition, and the utility of these changes to conservative political discourse. This article, focussing on the ethnic strategies of the Republican mayor of Cleveland, Ralph Perk, seeks to illustrate the importance of the “New Ethnicity” of the 1970s, and its reconceptualization of white ethnicity as a series of “values,” in the making of urban ethnic Republicans. In doing so it reorients our understanding of Perk – the “Ethnic Mayor” – and places ethnicity at the heart of the conservative insurgency reshaping urban and national politics during this period.

Thomas Berger is best known for his western, Little Big Man, made into a film starring Dustin Hoffman, yet his Reinhart tetralogy is at least as important an achievement. Crazy in Berlin (1958), the first volume and the author's first novel, is a very ambitious work that captures postwar Berlin in telling detail. Based on Berger's experiences in the American Army during the occupation, the book displays his tragicomic vision of the human condition. The opening sections of the essay provide information about Berger's German American background while growing up in Cincinnati, a discussion of how Berger studied the political novels of his time to shape his craft, and a succinct account of the harrowing situation in postwar Berlin that Berger witnessed firsthand. Having established the most relevant contexts, the latter half of the essay provides an interpretation of the novel's central themes as well as an aesthetic evaluation of its merits as a work of fiction. While Crazy in Berlin is not without significant flaws, it is in the last analysis an impressively accomplished work, distinguished both by its memorable characters and by the author's philosophical depth. It deserves to be much better known as one of the most challenging works of his distinguished career.

For most of its existence, the Second Amendment was largely ignored by Constitutional scholars. Recently, a veritable cottage industry has developed in which two distinct camps have surfaced: so-called “Standard Modelers,” who argue that individuals have a right to bear arms for self-defense, the defense of the state, and, in the most extreme examples, to overthrow the government should it become tyrannical, and those who view the Second Amendment as a collective right vested in the state militias for the purposes of law enforcement, to protect against foreign aggression, to quell domestic insurrection, and as a check against federal overreach. Despite the enormous gulf between them, both sides agree that the right to bear arms provides a counterbalance against the federal government. This paper uses insights from game theory to shed new light on the adoption of the Second Amendment. The states suffered a commitment problem. They wished to cooperate with each other by founding a new republic, but feared the consequences of doing so: losing their freedom to a powerful government. The Second Amendment militated against the need for a large federal army, acted to counterbalance federal forces, and created the offensive means with which to confront a tyrannical government.

In 1975 American and Soviet spacecraft docked together in orbit as part of the Apollo–Soyuz Test Project (ASTP), the world's first international crewed space mission. Focussing on the project's political symbolism, this article argues that the ASTP was an attempt by the Nixon and Ford administrations to advertise US–Soviet detente by harnessing the optimistic imagery of “space brotherhood,” an instinctive kinship supposedly shared by American astronauts and Soviet cosmonauts. This was ultimately unsuccessful, as detente's critics appropriated the mission for their own symbolic use to attack US–Soviet detente as a fantastical escape from earthly problems.

This article examines a series of British travel documentaries on the American South made since 2008 which are representative of the way in which southern distinctiveness is maintained through television within a transatlantic context. The travelogues focus on historic racial struggles, southern food, and music, and frame the South as a distinctly historical space, where either historical moments obscure the contemporary South, or cultural continuity and resistance to change and modernity are celebrated. The article also discusses the similarities between the travelogues and the southern tourist industry, and how transatlantic “televisual tourism” works against the wider scholarly challenge to southern exceptionalism.

Writers and critics in the Gilded Age United States frequently debated the relations between literature and science. A common contemporary interpretation of this relationship held that these two ways of knowing and writing were fundamentally opposed and that the advancement of science in American culture came at the expense of literary sensibilities. Nevertheless, and often as an effort to challenge this supposed opposition, many scientists also cultivated reputations as literary figures, and produced or planned diverse works ranging from travel writing and novels to verse drama. Such authors as Clarence King, J. Peter Lesley, Simon Newcomb and Nathaniel Southgate Shaler sustained a hybrid literary–scientific culture in the late nineteenth century. This interdisciplinary cultural zone was fragile and increasingly fractured by around 1900, as the emergence and consolidation of new categories of intellectual labour became increasingly wedded to the images of the “professional author” and the “scientist” as mutually exclusive identities. This article seeks to contribute to recurrent debates about the “two cultures” of literature and science by foregrounding the differentiation of these new forms of professional and intellectual identity as a decisive factor which constrained the possibility of a shared literary–scientific culture by the turn of the twentieth century.

The eve of World War II saw the development of direct connections between public relations experts and issues of foreign affairs in the United States. Public relations professionals assisted both internationalists and noninterventionists to spread their arguments across the nation, helping them to hone their messages, to organize, and to raise money. All of the main citizens’ organizations created during this period sought public relations assistance in the face of growing popular awareness of global events, and with an awareness of the need for public relations counsel in the face of an increasingly measurable concept of public opinion.

Pearl Abraham's 2010 novel American Taliban uses the “true” story of John Walker Lindh, a white US citizen captured fighting for the Taliban in Afghanistan in 2001, to reflect on the intense mediation of public trauma in the early days of the “War on Terror.” This article discusses the significance of American Taliban as a post-“9/11” work of literary fiction which, by imagining individual agency and interrogating the relationship between a racialized “Americanness,” treason and sovereignty, invites its readers to be critical of historical, political and media narratives in the so-called “post-truth era.”

This article analyzes America Today, a United States Information Service publication circulated to Southeast Asian Chinese between 1949 and 1952. Although the federal government had no intention of lifting immigration restrictions, the magazine promoted the idea that the United States provided humanitarian assistance and abundant opportunities to Chinese immigrants as well as their American-born Chinese counterparts to achieve upward mobility, form a conjugal family, and enjoy patriarchal authority. The stories demonstrated an attempt to inspire Chinese male readers in Southeast Asia to support the United States and the “free world,” rather than Communism and the People's Republic of China.

Scholars rank Franklin D. Roosevelt as a great President, and Hollywood agrees. During his presidency and in the decades that followed, Roosevelt appeared in various film and television productions, emerging as an idealized leader who overcomes physical disability, inspires the public, and pursues wise policies. The origins of, reasons behind, and manifestations of this tenaciously consistent image are the subject of this article. The process began with FDR's own successful leadership and media (including film) savvy. It was sustained by the influence of Roosevelt's family and admirers in the entertainment industry. It seldom has been challenged, even as portraits of FDR widened across of a variety of film and television genres from the 1970s onward.

As ideas of masculinity have changed in the United States, so too has the presentation of men on television. This article, then, explores a range of characters that have characteristics associated with the alpha male in the unusually vulnerable position of the patient, in a variety of programmes from generic detective dramas through to critically acclaimed productions, to analyse how programme makers navigate questions of masculinity against the cultural backdrop of the most recent fin de siècle. It also demonstrates a range of responses by programme makers, including some that question hypermasculine tendencies only to ultimately reinforce them.

The Transcendentalist legacy in Auster's Leviathan faces many questions posed by postmodern cultural politics. Previous studies of the novel have highlighted the irresolvable tension between writerly solitude and political engagement, which largely accounts for Benjamin Sachs's undoing. Departing from this interpretation, the present essay provides an alternative reading that links Auster's Thoreauvian representation with Cavell's idea of Emersonian Perfectionism. It seeks to cast further light on the idea of America, examine its relation to self-transformation, and reevaluate Sachs's life and work within a philosophical framework.