cultural history Archives

“Debt: A Natural History,” by Daniel Lord Smail, Harvard University

Debt is a human constant. The social implications of systems of credit and debt, however, are not; they can vary significantly over time and space. Traveling freely across the human past, this paper explores the paradoxical nature of the borrowing and lending and provides signposts for writing the natural history of debt.

Daniel Lord Smail is Frank B. Baird, Jr. Professor of History at Harvard University, where he works on the history and anthropology of Mediterranean societies between 1100 and 1600 and on deep human history. In medieval European history, his work has explored the social and cultural history of the cities of Mediterranean Europe, with a focus on Marseille in the later Middle Ages. He has covered subjects ranging from women and Jews to legal history and spatial imagination, which was the subject of his first book, Imaginary Cartographies: Possession and Identity in Late Medieval Marseille (Cornell University Press, 1999). His recently published book, Legal Plunder: Households and Debt Collection in Late Medieval Europe (Harvard University Press, 2016), approaches transformations in the material culture of the later Middle Ages using household inventories and inventories of debt recovery from Lucca and Marseille. Smail’s work in deep history and neurohistory has addressed some of the methodological and theoretical underpinnings of these approaches to the human past. His most recent article in this vein asks whether there is a history of the practice of compulsive hoarding. His books include The Consumption of Justice: Emotions, Publicity, and Legal Culture in Marseille, 1264-1423 (Cornell University Press, 2003); On Deep History and the Brain (University of California Press, 2008), and, with Andrew Shryock and others, Deep History: The Architecture of Past and Present (University of California Press, 2011).

Smail has received awards and fellowships from the National Endowment for the Humanities, the American Council of Learned Societies, the Guggenheim Foundation, the Radcliffe Institute for Advanced Study, and the Institute for Advanced Studies in Princeton, and his publications have received several prizes. In 2007, he received the Joseph R. Levenson Memorial Teaching Prize from the undergraduates of Harvard University, and, in 2014, the Everett Mendelsohn Excellence in Mentoring Award from the Graduate School of Arts and Sciences.

“Reclaiming the Pre-Modern Past” is an IHS lecture series that examines how new technologies and approaches are enriching our understanding of pre-modern eras and cultures

Other IHS Talks:

Climate and Soil: The Environmental History of the Maya
The Influenza Pandemic of 1918-1919

The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.

“London is Drowning and I, I Live by the River”: The Clash’s London Calling at 40

By Edward Watson

On February 7, Seattle’s non-profit broadcaster KEXP headed to London for their seventh annual International Clash Day. In celebration of The Clash’s London Calling turning 40 in December 2019, KEXP organized a 4-day live broadcast in Seattle and London, featuring performances from contemporary bands and covers of The Clash’s songs. Their intention was to highlight the “enduring influence” of The Clash’s music as well as their “human rights message.” Released in the UK in December 1979 and in the US in January 1980, London Calling is widely recognized as one of the most influential albums of the twentieth century. Rolling Stone listed it as the eighth best album of all time, Q Magazine listed it at number 20, and the NME placed it at number 39.

The Clash are tied to punk’s emergence in 1976. After the band made its live debut supporting the Sex Pistols in Sheffield in 1976, The Clash became one of the key players in London’s punk scene. By January the following year, The Clash had signed with CBS Records for £100,000 and in April they released their self-titled debut album. The record deal was considered an astronomical fee by the music press and fans alike. Mark Perry, founder of influential punk fanzine Sniffin’ Glue, claimed, “punk died the day The Clash signed to CBS.” Nonetheless, The Clash’s debut record was still recognizably a punk record. London Calling, however, reflected the band’s exploration into styles of music that transcended their punk origins, such as rock and roll, reggae, and ska. In spite of their substantial record deal, The Clash struggled financially. By 1979, The Clash was largely in debt and they were at war with their record company. They needed a commercial success and fast. London Calling delivered, selling around two million copies upon its release. In the UK, it was certified gold in December 1979 and in the US it peaked at number 27 on the Billboard Pop Albums chart.

Cover of the first edition of Sniffin’ Glue (via Wikipedia)

In addition to its diverse range of musical influences, London Calling’s success derived from its sociopolitical content. In the album’s title track, Joe Strummer declared, “we ain’t got no swing, ‘cept for the ring of that truncheon thing.” Strummer was referring to the collapse of what Time had labeled “Swinging” London in the 1960s, evoking police truncheons and riots in the city to elucidate a growing sense of turmoil in the 1970s. After the optimism of the 1960s, London seemed culturally and politically stagnant. But these changes were not just limited to the city of London. London Calling was released at a critical moment in Britain’s post-war history: unemployment was on the rise; there were frequent trade union strikes in 1973 and 1974; the British government sought a loan from the IMF in 1976; and ongoing disputes between James Callaghan’s Labour government and trade unions during the coldest winter for 16 years was dubbed the “Winter of Discontent” in 1978 and early 1979. Britain, once a manufacturing and imperial powerhouse on the global stage, was perceived to be in sociopolitical disarray. The overarching sense of doom and disorder was a large factor in Thatcher’s election in May 1979. Not only this, but the punk movement seemed to have lost its early momentum as an articulation of political and cultural discontent. “Phony Beatlemania” Strummer dubbed it, had “bitten the dust.”

Even though historians such as Jim Tomlinson and Andy Beckett have argued that the doom and gloom of the 1970s tends to be exaggerated, The Clash spoke to genuine political discontent and a seemingly desolate socioeconomic climate. Their earliest songs were particularly scathing about the state of the world. “White Riot” expressed exasperation at the lack of white working-class struggle, claiming “all the power’s in the hands, of people rich enough to buy it, while we walk the street, too chicken to even try it.” “London’s Burning” reflected on cultural stagnation and crippling boredom and “I’m so Bored with the U.S.A.” critiqued American imperialism: “Yankee dollar talk, to the dictators of the world, in fact it’s giving orders, and they can’t afford to miss a word.” The Clash was one of the more overtly political punk bands, using punk’s fast-paced, urgent, and aggressive style to critique 1970s society from the left.

London Calling continued in this vein, with most of its songs predictably centered on London. “Jimmy Jazz” and “Guns of Brixton” tell the stories of fictional characters in the city’s criminal underbelly. “Rudie Can’t Fail,” a heavily ska-influenced song, documents how young first-generation immigrant men, known as “rude boys,” were often subject to scorn from the British white middle class. The Clash also described how young people often neglect their idealism and political views once they get older and more comfortable in “Clampdown.” In “Spanish Bombs” the band drew comparisons between the Spanish Civil War in the 1930s and the rhetoric of Basque nationalists of the late 1970s. “Lost in the Supermarket,” offers a critique of consumerism as a key reason for political apathy and “Lovers Rock” endorses safe sex and family planning. Finally, the title track and album opener depicts a scene of rising unemployment, racial tensions, and drug use. London Calling is a scathing sociocultural commentary of the 1970s. This was reflected on International Clash Day when KEXP spotlighted various social justice organizations “because The Clash was anti-racist, anti-fear, pro-solidarity, pro-unity, pro-inclusion.”

But questions about whether The Clash had sold out never went away. To some, these doubts undermined the legacy of London Calling with regard to its political message. Others see a more complex history. American artist and activist, Mark Vallen, argued in 2002 that even though The Clash had sold out by allowing Jaguar to use “London Calling” to advertise cars, its original composition had been in keeping with the punk ethos. “When The Clash released London Calling,” he claimed, “the song was one of the band’s most chilling works. Ominous and dark, it foretold of the Western world collapsing in a spasm of war and out of control technologies, it addressed our fears of government repression.” Although some people in the punk movement believed The Clash had already sold out by this point, the initial excitement that London Calling generated was contingent on the authenticity of its political message.

London Calling’s continued popularity is largely down to a careful balancing act. The album could be called the greatest punk rock record of the era or it could be said that it is not a punk rock record at all. From a musical perspective, it is an amalgamation of various styles. Particularly, it pays homage to rock and roll. The album cover captures bassist Paul Simonon smashing his bass guitar on stage. This rock cliché is anchored by a logotype referencing Elvis Presley’s 1956 debut album. Musically, it was a nod to the past while incorporating an eclectic blend of contemporary styles. The three cover songs on the album emphasize this: “Wrong ‘em Boyo” and “Revolution Rock” were first recorded by reggae artists and the other was “Brand New Cadillac,” originally a rock and roll song from 1959. All three sound at home on the album next to the Clash’s original compositions.

London Calling undeniably helped bridge the divide between punk as music and punk as a historical moment. It normalized punk as a credible genre of music while articulating the sociopolitical grievances that British punks were reacting to: high unemployment, racial politics, and the sense that society around them was falling apart. The album has the feeling of a party during the apocalypse. From a historical perspective, even though The Clash had signed to a record label – a cardinal sin for a 70s punk rock band – their wide-ranging sociopolitical commentary encapsulated the cynical mood of the late 1970s. At the end of the title track there is a message in Morse code, created using Mick Jones’ guitar pickups, that spells out S-O-S. Amidst political crises in Westminster, London Calling’s apocalyptic tone is as relevant to Britain in 2019 as it was in the winter of 1979.

Film Review – Dazed and Confused (Dir: Linklater, 1993)

by Ashley Garcia

Borrowing its title from Led Zeppelin’s first album, Richard Linklater’s classic film Dazed and Confused continues to resonate with filmgoers and critics decades after its release. This September marks the twenty-fifth anniversary of Linklater’s cult hit and the overwhelming surge of Dazed and Confused viewing parties along with its re-release in theaters reveals the staying power of this small budget high school comedy. Linklater’s film is difficult to describe to those who have never seen it. In fact, the plot can seem quite uneventful. It lacks the drama, heartbreak, and seemingly high stakes of conventional high school stories and instead takes its viewers on a journey into the everyday banalities that make our lives what they are. Linklater’s film shows us how many of our life defining moments occur in the daily minutiae we experience.

The film takes place within a twenty-four-hour period on the last day of high school in Austin, Texas. Freshmen are hazed, the teens party under one of Austin’s legendary moontowers, and the story ends with a trek to purchase some killer Aerosmith tickets. The film perfectly encapsulates both the silly and startling aspects of high school. Whether you’re the anxious senior grappling with questions of the post-graduation unknown or the vulnerable freshman dazed by a new high school student hierarchy that feeds off freshman fear, the film captures the ethos of the high school experience. However, it would be easy to simply brush the film off as a lighthearted comedy that oozes nostalgia and brings its viewers back to the glory days of kegs, cruising, and classic rock. Linklater’s film exposes a new type of youth culture and lifestyle movement, referred to as slacker culture, born out of the failures and successes of radical domestic political and cultural movements collectively referred to as the American counterculture.

From left to right: Don (Sasha Jenson), Wooderson (Matthew McConaughey), Pink (Jason London), and Mitch (Wiley Wiggins) outside the bowling alley (via IMBd)

This new slacker culture emerged in the 1970s and consisted of a new type of cultural persona that fused the hippie with the dispirited misfit. The slacker embraced aspects of hippie culture that reinforced the right to be whatever type of individual you felt like being, but abandoned hippie political projects and radical ideologies. Slackers embodied an optimistic aimlessness while their politics celebrated choice and championed individual liberty. Slacker politics valued personal autonomy but rejected ideology and overarching political programs. Slackers were the non-participating participants. People with a point of view who lacked a cause.

The most vivid example of this slacker politics is represented in the storyline of the film’s most prominent character, Randall “Pink” Floyd. At the beginning of the film, Pink’s coach asks him to sign a sobriety pledge. The coach is concerned with winning a championship and does not want any of his players jeopardizing their chances of a winning season. Pink’s ambivalence toward the request lasts throughout the film as he grapples with options that include refusing to sign the pledge, quitting the football team altogether, or submitting to his coach’s authority. He ultimately refuses to sign the coach’s pledge but states that he will continue to play football regardless. Pink cites his right to privacy and above all else his independence when he refuses to sign the pledge. His refusal is more than teenage disobedience or protest for the sake of protest, yet the refusal is not an attempt to change the coach’s views on drug and alcohol use or pressure the coach into dropping the pledge requirement in its entirety. His protest is a statement about individual autonomy and the right to choose how to engage with the world on your own terms. The pledge is not portrayed as a collective issue that can be challenged by the gripes of the student body, but one that each football player must come to terms with on their own. If Linklater’s film was set in the sixties one cannot help but imagine the hippie version of Pink’s character staging an all-night sit-in or demonstration to protest the pledge with his fellow classmates.

Michelle (Milla Jovovich) in Dazed and Confused (via IMDb)

Pink’s decision at the end of the film embodies a slacker culture equipped with its own set of new cultural attitudes and political understandings. Slackers were indebted to a countercultural revolution that altered societal norms and changed the way America’s youth engaged with sex, drugs, and of course rock ‘n’ roll. However, these seventies slackers were left to face the fallout of a post-hippie and post-countercultural society where a new generation of young Americans lacked a cause or revolutionary project. By the late 1970s, the radical political movements that emboldened America’s youth for over a decade faded away and a new personal politics that emphasized individual choice and personal growth emerged. The high school slackers portrayed in Dazed and Confused embody this new personal politics and illustrate the evolution of youth culture following the death of the counterculture.

Linklater’s teenage characters can easily seem apolitical, inward thinking, or even lazy. One could view the characters’ priorities of getting high and hanging out as humorously pathetic, or a symptom of a group of teens with little professional and academic drive and nothing better to do. However, it would be a mistake to think that the film simply portrays a group of idle and self-centered teens looking for a good time. The film is punctuated with moments of self-reflection when its characters expose the depths of a new political attitude. Throughout the film, characters contemplate inherently political questions such as how to live a happy life, how to be true to yourself, and what it means to be free.

Director Richard Linklater (via Flickr)

While cruising the boulevard on the way to the moontower party, nerdy student Mike Newhouse reveals to his friends that he has decided not to go to law school. His dream to become an ACLU lawyer and “help the people that are getting fucked up and all that” has vanished. It only took a disastrous trip to the local post office where he witnessed a room full of pathetic people drooling in line to realize he is a misanthrope. When his friend asks him what he plans to do instead of going to law school he simply replies that he wants to dance. Linklater’s film is littered with these short but insightful moments that expose the ins and outs of slacker culture. Mike’s statements are laughable, yet they represent a decision to reject conventionalities and embrace an honest life. Mike believes it would be a lie to become a lawyer, even though he would be helping people in need. Linklater’s collection of stoners, slackers, and dreamers believe in staying true to themselves and being honest about who they are even if that means withdrawing from the world. Slacker politics is based in the banalities of everyday life and encourages individuals to follow the whims of their own hearts.

As the twenty-fifth anniversary of Dazed and Confused approaches, it is worth recognizing the indisputable contribution Richard Linklater has made through his reflective storytelling. In Dazed and Confused, Linklater offers us more than a stoner cult classic or sentimental high school comedy. The film not only captures the zeitgeist of the slacker movement but also provides insight into a cultural moment in American history. Dazed and Confused showcases a young generation’s struggles, dissatisfactions, pleasures, and truths. It navigates the rocky terrain of adolescence as young misfits, dreamers, and stoners discover who they are and how they want to live their lives.

Also by Ashley Garcia:

A Nation of Outsiders: How the White Middle Class Fell in Love with Rebellion in Postwar American by Grace Elizabeth Hale (2011)

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Demystifying “Cool:” A Brief History by Kate Grover

Popular Culture in the Classroom by Nakia Parker

Crossing Borders: Modernity, Ideology, and Culture in Russia and the Soviet Union by Michael David-Fox (2015)

By Stuart Finkel

One of the pivotal issues that western historians of the USSR have debated since its collapse more than 25 years ago is its so-called “exceptionalism.” That is, to what extent should the history of the Soviet Union be considered as but one variation of the remarkable process of state modernization in the twentieth century, and to what extent might we posit a distinctively “Soviet modernity,” distinguished by its communist ideology, its party-based state, and its social and/or nationalist “neo-traditionalism.” In Crossing Borders, Michael David-Fox, a prolific scholar and one of the founding editors of the field-defining journal Kritika, brings together significantly revised versions of earlier publications with new material in a volume that takes aim at a comprehensive, holistic reframing of these much-debated questions. The very sensible central thrust is that we should and can transcend the binarisms that have developed — modernity vs. neo-traditionalism, exceptionalism vs. likeness. As he asserts in an ambitious introduction that sets a frame for the disparate chapters that follow, there is a way to “thread the needle” between the various interpretations that will allow scholars to arrive at richer understandings.

David-Fox determinedly asserts that the way out of historiographical and theoretical conundrums is not to abandon the terms of debate but rather to expand them. In particular, he suggests, that the way out of the impasse between proponents of Soviet modernity and neo-traditionalism is to utilize the concept of “multiple modernities,” which can resolve or at least contain some of the paradoxes. Of course, deconstructing binaries to arrive at a more sophisticated synthesis is not in itself a radically novel solution to historical debates, and the author strives to avoid oversimplifications of the numerous scholarly works that he examines. Threading the needle requires more than simply saying that the answer lies “in between,” and to his credit David-Fox claims to be aiming at that (or, more precisely, beginning the process of doing that) in compiling these essays and articles.

1924 pro-literacy poster by Alexander Rodchenko (via Wikipedia)

The chief features of this interpretation include a rigorous examination of what is denoted by modernity, and, in particular by an approach that is not merely comparative but aggressively transnational. Any evaluation of Soviet modernity must be done not only via comparison with multiple other modernities (and not just a stereotype of Western modernity), but also through an empirical examination of international interactions at the time. Focused primarily, but not exclusively, on the interwar period, David-Fox aims to demonstrate – in work building on his previous scholarship, in particular the recent Showcasing the Great Experiment – that patterns of influence were complex and multifaceted and cannot be reduced to a simple question of imitation. This volume aims not to resolve these complexities but rather to show empirically how intricate these interactions could be, and thus to suggest the need for still further examination by the field.

The book aims to “cross borders” not just between nations but also among various subdisciplines and approaches. In a new essay entitled “The Blind Men and the Elephant,” David-Fox examines definitions of “ideology,” asserting that for a concept so ubiquitous it has been curiously undertheorized by Soviet historians. This explication of six different modalities for studying ideology (as doctrine, as worldview, as historical concept, as discourse, as performance, as faith, and in the mirror of French revolutionary and Nazi historiography) offers a useful, concise, and comprehensive overview. Together with the examination of Soviet modernity and a significantly revised and expanded version of the author’s well-known “What is the Cultural Revolution?” the historiographical and theoretical chapters might offer, among other things, a precise introduction to the basic questions of Soviet history for graduate students and general readers.

Poster of the experimental Soviet silent film “Man with a Movie Camera,” 1929 (via Wikimedia Commons)

The other major new inquiry in this volume is “The Intelligentsia, the Masses, and the West,” which provides a sort of précis of the author’s own original interpretation of what he calls “intelligentsia-statist modernity.” Impressively integrating the work of a diverse array of scholars, David-Fox posits that Russian/Soviet modernity was marked by “the way long-standing traditions of state-sponsored transformation were wedded to Westernized elites’ attempts to overcome Russian backwardness, and they all revolved around enlightenment from above and a search for alternatives to the market.” At the center of this conception is the well-known impulse of the Russian intelligentsia, the Kulturträger tradition, to disseminate “culture” to the masses. Here and in the revised version of his piece on the Communist Academy and the Academy of Sciences included later in the volume, David-Fox studiously avoids reducing the complexities and paradoxes of the Soviet integration of long-standing intelligentsia traditions. At the same time, in a book that strives to analyze and deconstruct major interpretative categories (modernity, ideology, etc.), it might be argued that this essay reifies a notion of “the intelligentsia” that is not sufficiently complicated. From at least the turn of the century, intelligentsia conceptions had been debated and contested, so that the original, more integral understanding had already been broken down. While there were undoubted strong étatist and tutelary propensities among the Russian/Soviet intellectual classes, there were also contradictory tendencies, including anti-intelligentsia sentiment and debates over fundamental concepts of social and intellectual life.

But it is clear that both this essay and the rest of the volume’s impressively erudite analysis represent far from the author’s last word on these matters. One expects an even more comprehensive framework will be built on these thought-provoking foundations.

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Rebecca Johnston discusses policing Soviet art in early Soviet Russia
Julia Mickenberg on American girls in red Russia
Jessica Werneke reviews Consuming Russia: Popular Culture, Sex, and Society since Gorbachev ed. Adele Marie Barker (1999)

Demystifying “Cool:” A Brief History

by Kate Grover

Elvis Presley promoting the film Jailhouse Rock, 1957 (via Wikimedia Commons)

When I was nineteen, I was bestowed with some of the highest praise a person can receive.

It happened at a rehearsal for The Vagina Monologues (go figure…) when some cast members I hadn’t met approached me for the first time:

“You’re Kate, right? Cool Kid Kate?”
“What?”
“Cool Kid Kate. There’s another Kate in the cast, so we’ve been calling you that to know which one we’re talking about.”

I was stunned. “Wow. Thank you,” was all I could say. We talked for a few more minutes, but at that point, I had completely checked out of the conversation. The compliment pinballed around my brain, igniting pleasure centers that I didn’t even know existed.

Cool kid Kate. Cool kid Kate. Ohmigosh…that is so cool!

This anecdote highlights a more-or-less universal truth: cool—as a concept, a descriptor, and a category—is potent force. For me, hearing someone say I was cool was much-needed validation, reassurance that the way I was living, acting, and being in that moment was acceptable. Better than acceptable—cool!

But while I had no doubt what cool meant to me, it remains an elusive concept. What is the mysterious power of cool? And where does it come from?

Believe it or not, scholars have been asking these questions for the last thirty years. Since the late-1980s, several writers have attempted to define cool and position it as a distinctly American concept. In the 1940s, African-American jazz musicians first popularized cool as a way of describing both the new, more restrained style of jazz and a form of emotional and aesthetic self-possession. For example, jazz saxophonist Lester Young, the figure scholars most widely cite as the first to bring cool into American vernacular, used the phrase “I’m cool” to communicate being in control and relaxed. Cool was different from hip, another staple in the lingo of African-American jazz culture, which meant being streetwise and aware of new trends and ideas.

Lester Young in New York, 1946 (via Flickr)

Though cool and hip have similar roots, it is important to distinguish these two concepts and validate their specific meanings in postwar African American culture. At the same time, it is also important to recognize that, for many people in decades past, cool and hip have come to mean the same thing: what is new, what is now, and what’s in vogue. Consequently, some of the early scholars studying cool have used the term in different ways. Two of the first major studies to explore ideas about coolness, by Richard Majors and Janet Mancini Billson, and by Peter N. Stearns use cool to connote a specific way of being—a usage akin to the meaning of cool promoted by 1940’s jazz artists. Conversely, Thomas Frank and Susan Fraiman rely on a formulation of cool that reflects its conflation with hip. While these early texts provided the groundwork for later studies, their diverging approaches and lack of consensus on cool’s origins and function in American life meant that cool remained an obscure area of scholarly research for quite some time.

Joel Dinerstein and Frank H. Goodyear’s 2014 book American Cool, has played a major role in popularizing, legitimizing, and catalyzing the scholarly study of cool. Published as a companion to the exhibition Dinerstein and Goodyear curated for the Smithsonian National Portrait Gallery, American Cool examines what it means for someone to be cool. The study introduces cool as an American concept, theorizes how cool acts as a marker of distinction, and showcases portrait photography of “cool figures” throughout American history—the same portraits that appeared in exhibition. But most importantly, the study outlines the ways these cool figures (mainly iconic politicians, musicians, or actors) provide us with new, innovative ways of being. According to Dinerstein, cool people are important to Americans because they teach us methods for living life that we would have not otherwise known. Cool figures are special among ordinary people because they take what other cool people before them have done and transform that into something new for subsequent generations. People emulate cool figures and new forms of coolness develop that provide even more people with models for being that enliven and inspire. Cool, in this construction, is a way of describing someone you admire for being and doing something you could not do and be on your own. This explains, perhaps, why the quippy compliment “Cool Kid Kate” meant so much to me.

The American Cool exhibition and its glossy-yet-scholarly coffee-table book companion attracted media attention and public interest to the study of cool. In particular, news outlets focused on Joel Dinerstein, the educator who had been teaching college courses on cool decades before the American Cool exhibition. Dinerstein has subsequently become the most prominent—and in-demand—scholar working on cool today. In 2014, writers at TIME consulted Dinerstein for their “coolest person of the year” series. A couple years later, the fashion brand Coach asked Dinerstein to write a book celebrating the company’s 75^th anniversary. This year, Dinerstein published the first cultural history of cool in the Cold War era, The Origins of Cool in Postwar America. As the title suggests, this nearly 400-page text is American cool’s origin story and gives the most comprehensive research on cool’s roots to date.

But the study of cool is far from complete. There are many more questions to ask, especially about what cool means to different groups of people in the U.S. today. Is cool still important to people? How does cool change in different environments? Who gets to be cool, and why? The answers to these questions promise to reveal major insights about American life and culture.

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Dorothy Parker Loved the Funnies by David Ochsner
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The Museo Regional de Oriente in San Miguel, El Salvador

By Brittany T. Erwin

In the tiny nation of El Salvador, the West dominates. As a result of commercial and political relationships that developed in the nineteenth and twentieth centuries, there has been significant influence in this Central American country from the United States and Western Europe. However, within the Salvadoran context, the predominance of western history and culture refers to the marked differences between the eastern and western regions of the country, and the east often gets the short end of the stick. One institution born in 1994 pushed back against this enduring stigma by celebrating the difference of the east.

In the west of this mountainous and volcano-ridden country lies the capital city of San Salvador. Founded in 1524, this sprawling metropolis is home to busy streets and extensive networks of both interregional and international exchange. Far away from that hustle and bustle, and at the foot of the frequently active Chaparrastique Volcano, lies San Miguel. This city, the third-largest in the nation is the proprietor of the first museum built in the eastern half of the country.

Museo Regional de Oriente (Brittany Erwin, 2017)

Housed in a former textile factory and one-time military complex, the Regional Museum of the East (Museo Regional de Oriente) tells the story of the east through the multidisciplinary lenses of archaeology, ethnography, and history. Under the direction of Saúl Cerritos, this institution promotes a celebration of the distinct history and heritage of the East. Even without capital-city resources, it tells the important stories of indigenous life in the pre-hispanic era, the complexities of sociocultural interactions during centuries of conquest and immigration, and the resulting diffusion of cultural practices that continues today.

The collections begin with a display of ceramic artifacts whose particular motifs and production techniques place them firmly outside the Mayan influence that permeates western El Salvador. Extensive historical context in Spanish and English accompanies these carefully preserved pieces, dating from the Paleo-Indian period through the post-Classical period, which ends around the time of Spanish contact.

The exhibitions then shift to reflect the living culture of the zona oriental. Displays of artisanal products and pottery with both a modern presence and historical roots reveal the enduring influence of indigenous culture. The final permanent exhibition hall showcases the dozens of local festivals that guide public life in the city and throughout the east. From the elaborate costumes they inspire to the coordinated offerings and ritualized dances that they require, these fiestas reveal an important aspect of local identity. On that note of energetic cultural pride, the tour concludes.

Inside the Museo Regional de Oriente (Brittany Erwin, 2017)

The museum also houses two temporary exhibits, which change several times a year to reflect contemporary issues of historical interest and investigation. Currently on display are a photographic history of the railroads that connected the people and markets of the East until the early 2000s and an exhibit reflecting on the nation’s anniversary of peace after the civil wars of 1980-1992.

This modest museum, constructed in the shadows of its influential western rival leaves a strong impression. Through a careful selection of local artifacts and the presentation of a region-centered dialogue, it encapsulates both the history and culture of the proudly idiosyncratic eastern region of El Salvador.

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Julia Guernsey discusses the links between sculpture and political authority in Mesoamerica
Vasken Makarian reflects on Central American history through digital archives
Jimena Perry on memory and violence in Medellín’s House-Memory Museum, Colombia

Mapping the Country of Regions: The Chorographic Commission of Nineteenth-Century Colombia, by Nancy P. Appelbaum (2016)

By Madeleine Olson

What occurs when elite driven narratives about national identity dramatically different differ from the realities people experienced? During the nineteenth century throughout Latin America, when national boundaries were just beginning to become coherent, the upper echelons of society constructed tales about their nations that often vastly differed from lived experiences.

Between 1850 and 1859, the Chorographic Commission traveled the territory of present day Colombia in an attempt to map the land and the people who lived there, using chorography, or detailed representations of a particular region. Sponsored by the government of New Granada (an older name for Colombia), the commission produced a wealth of maps, texts, illustrations, as well as travel journals and diaries, in order to construct the image of a unified nation. Implicit in the commission’s initial mandate was the assumption that it would justify the existing administrative order by making that order appear natural.

The visual culture it produced, however, depicted a nation that was far from cohesive, with regional individuality and diversity. Instead of portraying a unified nation, the commission presented the country as fragmented into different, and often opposing regions, inhabited by racially and culturally distinct races, that reinforced assumptions of Andean and white mestizo superiority. In this new book, Nancy Appelbaum expands our understanding of this central paradox, demonstrating that the commission’s materials reveal some of the ways that Colombian elites grappled with the challenges posed by varied topographies and diverse inhabitants.

The leaders of the Chorographic Commission included both foreign members and others who were born and bred in New Granada. Two of the key figures on the commission, whose writings play an important role throughout the book, were Agustín Codazzi and Manuel Ancízar. Born in Italy’s papal states and a Napoleonic war veteran, Codazzi was in fact first contracted to map the Venezuelan provinces, which had seceded from Gran Colombia, in 1830. The secession precipitated Gran Colombia’s dissolution into Venezuela, Ecuador, and New Granada. Manuel Ancízar, a Colombian lawyer, writer, and journalist, joined Codazzi on the Commission in 1850.

Gran Colombia and modern countries (via Wikimedia Commons).

Using personal correspondence between Codazzi and Ancízar, Appelbaum argues that although the creation of the commission reflected nationalist aspirations of the government, it was fundamentally shaped through its leaders’ own exposure to foreign culture. The geographic writings of Prussian Alexander von Humboldt, as well as Italian Adriano Balbi, strongly influenced Codazzi’s and Ancízar’s initial overviews, as they “draped themselves in the ‘mantle of Humboldtianism’ to emphasize their own scientific legitimacy.” Inspired by Humboldt, Codazzi divided the terrain of New Granada according to the differing altitudes, winds, and vegetables that he encountered. The ideological influence of Humboldt, together with Balbi’s schematic list methodology, helped the Commission create a novel and distinct approach to chorography that was more affordable than the fashionable trigonometric survey.

The detailed accounts produced by Codazzi and Ancízar on the commission’s initial expeditions to the highland region of Antioquia and the Pacific lowland, comprised not only field reports, but also included detailed watercolors created by the commission’s first illustrators in order to depict the populations they encountered. Through comparing the perceptions noted in the field reports with the pictorial representations, the tension comes out between the inclination to show these regions as homogenous when the commission clearly experienced great heterogeneity of the people and customs.

William Price, Typical Inhabitants of the Province of Medellín (via World Digital Library).

This visual culture reflected a literary and artistic current in nineteenth-century Latin America called costumbrismo, or using descriptive prose and dialogue to verbally paint a local scene, emphasizing the customs and particularities of that locale. Within these works, tipos “types” that organized the population into component parts defined by race, occupation, and place, were created to provide both a visual and discursive way to manage the heterogeneity that the commission encountered. In William Price’s Tipos de Medellin, the commission’s artists displayed idealized images of people one would encounter when visiting these places. These images of the racial types that the commission produced updated the eighteenth-century genre of casta paintings for the republican era.

As the commission moved into the tropical lowlands and the eastern plains, Appelbaum further elaborates how the illustrations were largely aimed at an external audience in order to attract immigrants and economic investment to the region. The commission’s efforts were not meant to simply represent the landscape, they were also to transform it in the service of economic advancement. Codazzi believed that these areas, rich in agriculture and livestock, could support many more people than their sparse, midcentury population. Elites defined the tropics, for instance, as being filled with disease, poverty, and backwardness, making it a desirable region for colonization and improved methods of production. The commission took on an ethnographic dimension, as studying the population became an integral part in determining the economic capabilities of the land. Reports, maps, and paintings that Codazzi, Ancízar, and others, produced provided abundant information aimed to facilitate the conquest of the regions they mapped and studied.

Manuel María Paz, Provincia del Chocó: Aspecto esterior de las casas de Nóvita (via World Digital Library).

Applebaum goes on to discuss the methods that mid-nineteenth-century intellectuals living in the highlands around Bogotá employed to rationalize their claim over the local populations. By emphasizing the glorious origins and civilization of the Andean region around Bogotá, at the expense of lower “savage” climates, intellectuals reinforced Bogotá’s claim over this topographically disparate territory. Codazzi projected national history into the ancient past by weaving geology, archeology, and history together and referencing the past as “history” rather than prehistory. They placed themselves, not the local indigenous populations, who ultimately were the Commission’s guides, at the top of the intellectual scale to read the cataclysmic past.

Carmelo Fernández, Piedra grabada de Gámesa. Provincia de Tundama (via World Digital Library).

After Codazzi died in 1859, elites left behind tried to make sense of his project and battled each other over meanings and representations of the nation. Although members of the commission had high hopes for the mass reproduction and circulation of the materials they produced, that did not occur. Chorography and the work of the Chorographic Commission died with Codazzi, supplanted later in the nineteenth century by newer forms of mapping which are still common today, such as topography.

Although the work that the Chorographic Commission created between 1850 and 1859 was not as widely received as hoped, the spatialized and racialized regional hierarchy inherent in its visual materials would be reproduced and refined within Colombian scholarly and popular discourse. By no means the originator of this fragmented discourse, the Commission’s cartographic project formed the basis for most maps of Colombia into the early twentieth century.

Gracefully written, integrating over thirty images and maps, Mapping the Country of Regions offers a fascinating window into both the visual culture produced during the nineteenth century in Colombia, and the ways that territories, boundaries, and state-lines are constructed. Appelbaum’s contextualization of her source base that she makes explicit within her analysis heightens her claims about the use of geographic, ethnographic, and visual methods to secure territory. This theme of racialization of geographic hierarchy is not solely limited to Colombia, as ideas about how race and region have historically informed each other throughout Latin America. The blending of analysis with visual representation enables this book to be of use for those interested in not only Latin American nation-state building, but this methodology of combining visual and textual analysis would be of value for anyone incorporating visual culture into their own work.

Nancy P. Appelbaum, Mapping the Country of Regions: The Chorographic Commission of Nineteenth-Century Colombia (Chapel Hill: The University of North Carolina Press, 2016).

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Media and Politics From the Prague Spring Archive

By Ian Goodale

In an unpublished letter to the Soviet daily newspaper Izvestiia, Liudmila Chukovskaya wrote that “muteness has always been the support of despotism.” This quote is cited in the booklet, Czechoslovakia and Soviet Public, compiled by the Radio Liberty Committee in New York in August 1968 to analyze the coverage of the Soviet invasion of Prague. During the Cold War, the media—and radio broadcasts in particular—were used as weapons by the U.S. and the Soviet Union in their battle to define a geopolitical narrative in line with their respective national interests. By examining the ways that both U.S.-backed and Soviet-supported media sources attempted to portray the events of the invasion of Czechoslovakia, this booklet serves as an important resource not just for understanding this specific event, but for how media was used by the two superpowers in their struggle for power and influence.

Soviet invasion of Prague, 1968 (via Mitteleuropa).

The two media sources analyzed by the booklet, Radio Liberty and Radio Moscow, were key propaganda arms of the United States and the USSR, respectively. In addition to the comparison of the coverage of these events by Radio Liberty and Radio Moscow, the booklet contains evaluations of the Czech events by staff members of the Radio Liberty Committee in Munich and New York, utilizing various documents and press clippings unavailable to the general American public. As such, the document provides a comprehensive overview of the events surrounding the Prague Spring as they were depicted by the popular and state-run media. This is not a complete narrative of the invasion, but a direct account of the ways it was portrayed by opposing sides of the conflict.

The front page of the Radio Liberty booklet (via author).

Radio Liberty, a radio station funded by the U.S. government to counter the Soviet-funded Radio Moscow, was a key piece of the U.S.’s propaganda strategy in its fight against the spread of communism in Europe. Founded in 1951 as an anti-communist news service directly targeting the Soviet Union, it began broadcasting in 1953, four days before the death of Stalin. It eventually expanded from its initial broadcasting base in Germany to include transmitters in Portugal, Spain, and Taiwan, the latter of which was used to direct broadcasts to Russia’s eastern provinces. By December of 1954, Radio Liberty was broadcasting in 17 different languages.

Radio Moscow, a state-run station in the Soviet Union, served a similar propagandistic role, broadcasting in German, English, and French in an attempt to reach western European audiences. The U.S. began to be targeted by the broadcasts in the 1950s, during the Cold War, with transmitters situated first in the Moscow region and, later, in Vladivostok and Magdalan. In the early 1960s the station began broadcasting in African languages, further broadening its audience.

Radio Free Europe/Radio Liberty still has an office in Prague and broadcasts in Eastern Europe, Central Asia, and the Middle East (via Wikimedia Commons).

The booklet notes the differing strategies of the two countries in their handling of the invasion. Soviet media, for example, simply refused to acknowledge a host of inconvenient truths regarding Czechoslovakia, remaining, as the booklet notes, “blind and mute” to student demonstrations, the broader democratization of Czech society, and even the replacement of party leader Antonín Novotný with Alexander Dubček. While Radio Liberty broadcast favorable news widely to promote its agenda–such as the fact that Czech citizens missed “no occasion…to let the Soviet troops know they were not welcome…students walked brazenly with flags under the long guns of the tanks”–Radio Moscow remained silent on unfavorable events.

But this silence could not last. The Soviet strategy soon transitioned from this calculated muteness to one of scathing criticism of liberalization in Czechoslovakia. As Izvestiia proclaimed on September 7th, Radio Liberty and other Western media outlets–described as “press and radio working in the service of the monopolies”–were creating “vile anti-communist inventions” to undermine the Soviet Union. “Every day,” the paper proclaimed, “brings new proof of the provocatory role of imperialist propaganda.”

Alexander Dubček attempted to reform socialism in Czechoslovakia, which antagonized hardliners in Moscow and staunch Czech and Slovak anti-socialists (via Wikimedia Commons).

By comparing the reports from Radio Liberty and Radio Moscow side-by-side, these differing strategies become all the clearer. Situated within the broader Prague Spring archive, the document is a source that helps to understand how both the U.S. and Soviet governments strategized their media communications in a cultural and political battle, spinning events to serve their respective narratives. In an era of conflict and confusion over the geopolitical future, portrayal of the present became a battleground of ideologies, the media a weapon to promote each side’s agenda.

Olivia L. Gilliam and Edward P. Pell, August, 1968. Czechoslovakia and the Soviet Public. The University of Texas, Austin, TX. Accessed January 21, 2017. https://repositories.lib.utexas.edu/handle/2152/38273
doi:10.15781/T2PN8XF39

More by Ian Goodale on Not Even Past:
The Prague Spring Archive Project.

The Gunning of America: Business and the Making of American Gun Culture, by Pamela Haag (2016)

By Isaac McQuistion

Guns and America enjoy a symbiotic relationship, the one constantly evoked when you refer to the other. A Congressional Research Service report estimated that, in 2009, the number of firearms in the United States surpassed the number of people, 310 million compared to 306.8 million. That gap has continued to widen, and as of 2015, guns outnumbered people by 40 million. These aren’t exact figures; more concrete numbers are hard to come by. Still, they show that the number of firearms in the US, by an reasonable estimate, dwarfs that in any other country in the world. In the list of gun-loving nations, the United States has nearly twice the number of guns per capita as the next country, Serbia.

How do we explain this? How did the US become such an outlier? Many point to the Constitution and the second amendment, the right to bear arms folded into the fabric of our nation almost from its inception. Guns were what fueled westward expansion, and the citizen militia is what beat back the British. Therefore, the gun holds a spot of preeminence in the national lore of America.

Samuel Colt (via Wikimedia Commons).

Pamela Haag’s book The Gunning of America: Business and the Making of American Gun Culture, offers a meticulously researched and beautifully written corrective to this mytho-poetic view of the gun. Haag, who received a PhD in history from Yale, takes the old journalistic maxim of “follow the money” and applies it to the American gun industry. As she writes, “We hear a great deal about gun owners, but what do we know of their makers?” This is the guiding light of her book: to trace the development of the gun industry and the loose constellation of entrepreneurs who laid the foundation for what we have today. These were men like Oliver Winchester, Samuel Colt, and Eli Whitney (yes, that one).

Haag’s overall argument is that it was the gun industry itself that turned the United States into a gun-loving nation. To begin her book, she points out what many gun enthusiasts themselves have been saying for years, albeit selectively and ahistorically: that guns were tools, used and marketed as such. They were unremarkable objects, with as much emotional resonance as a claw hammer or a bow saw.

Coupled with this reputation as ordinary and functional was a style of production that limited the number of guns that could find their way to the market. Guns were originally made by blacksmiths, few of whom specialized in manufacturing firearms, and were therefore often clunky items, prone to breaking and difficult to repair.

Two Pennsylvania rifles. Rifles like this were used by militiamen and snipers during the American Revolutionary War (via Wikimedia Commons).

Eli Whitney was among the first to propose a solution to this problem. In 1801, he made a presentation before President John Adams, demonstrating the merits of constructing guns out of interchangeable parts. This approach would enable him to quickly produce a large number of reliable firearms that could be easily repaired.

This development is what made the modern gun industry viable and other manufacturers soon followed Whitney’s lead. It was not a very stable market, though. The gun business was largely tethered to the boom and bust cycle of war, with the United States government serving as its largest client. In times of peace, manufacturers turned to the overseas market, selling weapons to whichever foreign government happened to be in need of them.

But in order to expand their business, the gun manufacturers knew that they had to increase the domestic demand for their product. Through a close look at advertisements and items like dime-store Westerns, Haag brilliantly demonstrates how savvy marketing transformed the gun from a tool to an emotionally-charged emblem of masculinity, individualism, and the nation. As she writes, “what was once needed now had to be loved.”

An 1876 gun advertisement (via Wikimedia Commons).

In the earliest examples that Haag chooses, guns are listed as just one of many items that your local smithy could make and repair. Later ads would grow more sophisticated, but they would still focus on mechanical virtues and overall utility.

This began to change in the early 1900s, as the gun manufacturers switched from their previous text-heavy ads to more emotive, visual ads, rendered in full color and often regarded as works of art in themselves. They depicted excitement, romance, and nostalgia, drawing heavily on images of cowboys and hunters in the Wild West, their trusty firearm at their side as they faced down a vicious bear or band of Native Americans.

A 1898 Winchester ad (via Wikimedia Commons).

The manufacturers didn’t stop at wannabe woodsmen. They sought to make their market as wide as possible, and in doing so made the gun seem an integral part of American life and history. A key part of this process was to make owning a rifle synonymous with manhood, targeting the father-son relationship in particular. “You know [your son] wants a gun,” one ad reads,” but you don’t know how much he wants it. It’s beyond words.” Another tells fathers that a boy’s “yearning for a gun demands your attention. He will get hold of one sooner or later. It is his natural instinct.”

But guns weren’t the sole province of men. An ad for Smith and Wesson read, “Any woman can learn how to use a Smith & Wesson in a few hours, and . . . she will no longer feel a sense of helplessness when male members of the family are absent.” A Winchester ad from 1921 proclaimed that “Every man, woman or child has an inherent desire to own a gun.” Advertisements like these, alongside their countless depictions in popular culture, are what created America’s gun culture.

A 1914 Remington ad targeting women (via Wikimedia Commons).

Juxtaposed with the account of these early arms manufacturers is that of the women associated with them, and in particular Sarah Winchester, who married Oliver Winchester’s only son. Sarah led a singularly unhappy life. She lost her first daughter, Annie, when the child was only 40 days old. She’s believed to have suffered one or two more miscarriages, and she lost her husband to tuberculosis, and, shortly after, her mother also died.

At this point, Haag’s account drifts into speculation. She theorizes that Sarah thought herself cursed, haunted by the victims of all the guns that her husband and father-in-law brought into the world and thanks to whose money she lived in splendor. In a possible attempt to ward off the spirits she built the Winchester mystery house in San Jose, California, a vast mansion that she was perpetually making additions to, with stairs that lead to nowhere and rooms, fully furnished and decorated, that are completely walled off. Now a tourist attraction, it stands as an architectural depiction of madness.

The Winchester Mystery House (via Wikimedia Commons).

This is fascinating stuff and it’s readily apparent why Haag thought it necessary to counterpose her depiction of the gun manufacturers, who have all the humanity of adding machines and clearly distanced themselves and their capitalist aims from the visceral reality of the violence of the arms they made, with the almost unbearable humanity of Sarah Winchester. The one drawback is that because it is so highly speculative, this part of the book runs the risk of detracting from the brilliant research that Haag deploys elsewhere.

And the research really is quite brilliant. Haag gained access to the company archives of Winchester, Colt, and other gun manufacturers, and she makes excellent use of the privilege. Haag is a beautiful writer, able to weave together a compelling narrative studded with memorable lines and anecdotes, like the gun salesman in Turkey who, upon realizing during a demonstration that his gun was clogged with sand, solved the problem by urinating on the offending component.

Puck cartoon from 1881 satirizing gun culture in America (via Wikimedia Commons).

In the end, Haag strips away the mythology of guns in America to reveal a truth that’s both more ordinary and more profound than what existed before. It was the ineluctable logic of capitalism that drove the original gun manufacturers to seek out as wide a market as possible for their product, and it was the story that they told their customers that has lived on until today.

Pamela Haag. The Gunning of America: Business and the Making of American Gun Culture. New York: Basic Books, 2016.

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Tatlin’s Fish: Art and Revolution in Everyday Life

By Peter Worger

Tucked into the pages of Nikolai Punin’s diary is a sliver of silver paper made into the shape of a fish. Its scales have been drawn with what appears to be black marker or charcoal in an Impressionist style on one side and in a Cubist style on the other. The fish has two fins along its underside and a pointed tail, most of which have brightly-colored orange tips, and there is a razor-like saw of a fin on its backside. An orange piece of yarn is tied to its mouth as if the fish had been caught with it, making it easy to hang or pull out of a book. The whole object is about the length of a page and, since it was found in a book, one can assume it was made to be used as a bookmark.

Both sides of the fish are decorated in silver and orange (Punin papers, Harry Ransom Center).

The fish was a gift from the famous Soviet avant-garde artist, Vladimir Tatlin, to his friend, the art historian Nikolai Punin. The two men worked together at The Museum of Painterly Culture in Petrograd in the early 1920s just after the Russian Revolution when the diary was written. Punin worked in the Department of General Ideology and Tatlin was producing an experimental play by the poet Velimer Khlebnikov, another friend and collaborator in the circle of Russian revolutionary, avant-garde artists. For Punin, Tatlin represented a particular quality of Russian art that made it surpass the latest Cubist innovations in painting coming from France. In 1921, Punin had already written a polemic entitled, “Tatlin (Against Cubism).” In this short work, he argued that Tatlin made the same innovations in art as the French Cubists, but surpassed them because the tradition of icon painting in Russia gave the Russian avant-garde a particular appreciation of the paint surface. The lack of a Renaissance tradition of perspectivalism, according to Punin, also gave the Russian avant-garde a much freer relationship to space. Punin referred to The Fishmonger, as one of three paintings that represented Tatlin’s start in this direction. In that painting we can see multiple fish that have the silver and orange coloring as the paper fish found in Punin’s diary. Tatlin’s early experiences with church art, painting icons, and copying wall frescoes, was crucial in the development of his style as well as his ideas about the role of art in revolutionary society. The icon was both a work of art and an object for everyday use. This emphasis on the image as everyday object became important in expanding Tatlin’s creative pursuits to include the construction of utilitarian objects to transform the nature of everyday life in the USSR during the transition to socialism.

The Fishmonger, by Vladimir Tatlin, 1911 (via Wikiart).

In 1923, Tatlin became the Director of the Section for Material Culture at the Museum of Painterly Culture. During his tenure there, he authored several documents outlining his general program for the role of material culture in the USSR. In an article written under his direction called “The New Way of Life,” he described a series of new projects and prototypes, namely a new design for a coat, and one of five new designs for an oven that could cook and keep food warm for 28 to 30 hours and also keep the home heated economically. Tatlin incorporated the text of “The New Way of Life” into a controversial work of the same name, a photo-montage showing images of the designs that were meant to depict that revolutionary new way of life. He created it for display in the showroom of the Section for Material Culture and the designs were also shown at the Exhibition of Petrograd Artists of All Tendencies. Punin wrote a favorable review of Tatlin’s work in the exhibition, but other critics who believed that art should occupy a place “beyond the realm of the everyday” found the designs inappropriate. Tatlin’s work was revolutionary in that it challenged this traditional boundary between art and the everyday.

A New Way of Life, by Vladimir Tatlin (via Russian State Archive of Literature and Art).

The fish is an important indication of a close personal and professional relationship between the artist, Vladimir Tatlin, and his admiring critic, Nikolai Punin, and it represents the ways that Tatlin and Punin tried to outline a new revolutionary program for art. It also is an example of that very revolutionary impulse in that it is an object to be contemplated for its aesthetic beauty and also to be used for a utilitarian purpose as a bookmark. Tatlin’s work paved the way for a new interpretation of art as something that could be figurative as well as useful; art in revolutionary society could have a place in the daily lives of every individual and not only in the lofty realm of the art establishment. This little fish offers a window onto the theories of the period of the Russian Revolution, when people sought to rethink the entire Western European model of not only aesthetics but also society.

Tatlin’s fish can be found in The Punin Collection, Harry Ransom Humanities Research Center, The University of Texas at Austin.

Additional Sources:
Anonymous, “New Way of Life,” in Tatlin, ed. Larissa Alekseevna Zhadova (1988).
John E. Bowlt, review of O Tatline, by Nikolai Punin, I. N. Punina, V. I. Rakitin, Slavic Review 55, no. 3 (1996).
Christina Kiaer, “Looking at Tatlin’s Stove,” in Picturing Russia: Explorations in Visual Culture, Valerie A. Kivelson and Joan Neuberger, eds (2008).
Jennifer Greene Krupala, review of O Tatline by N. Punin, I. N. Punina, V. I. Rakitin, The Slavic and East European Journal 40, no. 3 (1996).
John Milner, Vladimir Tatlin and the Russian Avant-Garde (1983).
Nikolai Punin, “Tatlin (Against Cubism),” in Tatlin, ed. Larissa Alekseevna Zhadova (1988).

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Rebecca Johnston studies a letter pleading for Nikolai Punin’s release from prison in Policing Art in Early Soviet Russia.
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