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A Treacherous Secret Agent How Literature Spoke Truth to Power During the Red Scare
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- Englisch ausgewählt
35,99 €
inkl. gesetzl. MwSt.,
Lieferung nach Hause
Beschreibung
Produktdetails
Einband
Gebundene Ausgabe
Erscheinungsdatum
02.06.2026
Verlag
Yale University Press LtdSeitenzahl
256
Maße (L/B/H)
21,8/14,4/2,8 cm
Gewicht
440 g
Sprache
Englisch
ISBN
978-0-300-28282-5
A world-renowned critic’s haunting and deeply researched account of the subversive acts of literary revenge performed during the 1950s Red Scare hearings
In the 1930s, ’40s, and ’50s, the House Un-American Activities Committee and the Senate Subcommittee on Investigations led by Senator Joseph McCarthy targeted actors, directors, singers, filmmakers, writers, and prominent scientists, accusing them of disloyalty, subversion, and treason against the United States of America. HUAC and McCarthyism ruined careers and lives. But something striking also happened during the hearings: the poems, plays, novels, and song lyrics cited in the witness testimony spoke back, offering uncanny counter-testimonies and remarkable acts of “poetic revenge.”
This book is an urgent, probing exploration of the HUAC, its attempts to bowdlerize and contort facts, and the voices that rose out of history to oppose and subsume it. Marjorie Garber shows how writers versed in the literary tropes of revenge appear in the hearings: William Shakespeare, Christopher Marlowe, Thomas Kyd, John Donne, George Herbert, Francis Bellamy, and others. But the agent of revenge is not the author of the work; it is the work itself, with all its cultural power and relevance, spanning years or centuries.
In narrating the destructive history of the Red Scare, Garber powerfully illuminates the constructive force of literature in opposing political oppression.
In the 1930s, ’40s, and ’50s, the House Un-American Activities Committee and the Senate Subcommittee on Investigations led by Senator Joseph McCarthy targeted actors, directors, singers, filmmakers, writers, and prominent scientists, accusing them of disloyalty, subversion, and treason against the United States of America. HUAC and McCarthyism ruined careers and lives. But something striking also happened during the hearings: the poems, plays, novels, and song lyrics cited in the witness testimony spoke back, offering uncanny counter-testimonies and remarkable acts of “poetic revenge.”
This book is an urgent, probing exploration of the HUAC, its attempts to bowdlerize and contort facts, and the voices that rose out of history to oppose and subsume it. Marjorie Garber shows how writers versed in the literary tropes of revenge appear in the hearings: William Shakespeare, Christopher Marlowe, Thomas Kyd, John Donne, George Herbert, Francis Bellamy, and others. But the agent of revenge is not the author of the work; it is the work itself, with all its cultural power and relevance, spanning years or centuries.
In narrating the destructive history of the Red Scare, Garber powerfully illuminates the constructive force of literature in opposing political oppression.
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