Anti-Imperialist Modernism excavates how U.S. cross-border, multi-ethnic anti-imperialist movements at mid-century shaped what we understand as cultural modernism and the historical period of the Great Depression. The book demonstrates how U.S. multiethnic cultural movements, located in political parties, small journals, labor unions, and struggles for racial liberation, helped construct a common sense of international solidarity that critiqued ideas of nationalism and essentialized racial identity. The book thus moves beyond accounts that have tended to view the pre-war “Popular Front” through tropes of national belonging or an abandonment of the cosmopolitanism of previous decades. Impressive archival research brings to light the ways in which a transnational vision of modernism and modernity was fashioned through anti-colonial networks of North/South solidarity. Chapters examine farmworker photographers in California’s central valley, a Nez Perce intellectual traveling to the Soviet Union, imaginations of the Haitian Revolution, the memory of the U.S.–Mexico War, and U.S. radical writers traveling to Cuba. The last chapter examines how the Cold War foreclosed these movements within a nationalist framework, when activists and intellectuals had to suppress the transnational nature of their movements, often rewriting the cultural past to conform to a patriotic narrative of national belonging.

This book provides a re-reading of canonical modernism, connecting it to imperialism without conflating it with imperialist practices.

In this major work, Lewis S. Feuer examines critical distinctions between progressive and regressive imperialism. He explores causes of anti-imperial ideologies, noting that unlike the spoliation that took place under regressive tartar, Spanish and Nazi colonizations, civilization flourished during the progressive imperialism of Hellenic, Macedonian, Roman, and modern British eras of empire-building. Feuer holds that it is erroneous to blame the relative backwardness of colonial peoples on the imperialism of Western democratic nations. In case after case, the character of colonial rulers determined economic development and democratic reform alike. Pursuing the theme of progress versus regression, Feuer compares the imperialism of the United States with that of the Soviet Union – to the detriment of the latter in nearly every instance. His effort constitutes nothing short of a fundamentally new perspective on the lessons of modern history and the mistakes of modern analysts of international affairs. Feuer opens as well a new chapter in political psychology with his study of such anti-imperialist intellectuals as Hobson, Morel, and Leonard Woolf; his portrait of Emin Pasha, the heroic Jewish governor of Equatorial Sudan, suggests a living model for Conrad's Lord Jim.

This book provides a re-reading of canonical modernism, connecting it to imperialism without conflating it with imperialist practices.

"Tom Henthorne counters that Conrad's work can be best understood in relation to that of such early twentieth-century writers as S. K. Ghosh and Solomon Plaatje - postcolonialists who developed innovative ways of cloaking their anti-imperialism when working with British publishers. In Almayer's Folly, An Outcast of the Islands, and his first short stories, Conrad attacks imperialism overtly. Yet as he began to work with more conservative publishers to acquire a larger, imperial audience, he developed a Trojan Horse strategy, deliberately obfuscating his radical politics through his use of multiple narrators, irony, free indirect discourse, and other devices that are now associated with modernism." "Sensitive to the breadth of his prospective audience, Henthorne offers an engaging and accessible analysis of Conrad's canon. He also considers critical responses to Conrad and the influence Conrad has had upon modernist and postcolonial writers."--BOOK JACKET.

This is the first book to explore the fascinating relationship between literary Modernism and Empire. The book seeks to begin the task of exploring, in a sustained way, the relations between the artistic movement and colonialism. The essays range over subjects and figures such as Ireland, Africa, Joyce, Pound, Townsend Warner, Lawrence and Forster, Kipling, Woolf, and Jean Rhys.

From her first book to her last, Virginia Woolf consistently satirized British society. Only in recent years, however, has Woolf been recognized as a political thinker, let alone one with a sophisticated grasp of complex ideologies. In Virginia Woolf against Empire, Kathy J. Phillips makes a major contribution to the growing recognition of Woolf as a cultural commentator. Phillips argues that Woolf satirizes social institutions largely through incongruous juxtapositions that link empire making, militarism, and gender relations. One of Woolf's key insights, Phillips shows, is her exposure of a pervasive cultural image that equates women and land - a metaphor resulting from her culture's displacement of sexuality onto militarism and the transference of the individual's need to be included into an all-embracing empire. As Woolf's novels demonstrate, the metaphor works in both directions: to corrupt the relation of men to women with possessiveness and to turn England's relation to its colonies into a kind of substitute for sexual gratification. A unique feature of this study is Phillips's investigation of how Leonard Woolf's books on colonialism specifically influenced Virginia Woolf's novels and vice versa. Virginia Woolf drew her concepts of political systems and theories from her husband's anti-imperialist writings. Phillips also shows how specific factual details from Leonard Woolf's books help to illuminate some of Virginia Woolf's metaphors and allusions.