114, 115, 116, 117

In a bold rethinking of the Hollywood blacklist and McCarthyite America, Joseph Litvak reveals a political regime that did not end with the 1950s or even with the Cold War: a regime of compulsory sycophancy, in which the good citizen is an informer, ready to denounce anyone who will not play the part of the earnest, patriotic American. While many scholars have noted the anti-Semitism underlying the House Un-American Activities Committee’s (HUAC’s) anti-Communism, Litvak draws on the work of Theodor W. Adorno, Hannah Arendt, Alain Badiou, and Max Horkheimer to show how the committee conflated Jewishness with what he calls “comic cosmopolitanism,” an intolerably seductive happiness, centered in Hollywood and New York, in show business and intellectual circles. He maintains that HUAC took the comic irreverence of the “uncooperative” witnesses as a crime against an American identity based on self-repudiation and the willingness to “name names.” Litvak proposes that sycophancy was (and continues to be) the price exacted for assimilation into mainstream American culture, not just for Jews, but also for homosexuals, immigrants, and other groups deemed threatening to American rectitude. Litvak traces the outlines of comic cosmopolitanism in a series of performances in film and theater and before HUAC, performances by Jewish artists and intellectuals such as Zero Mostel, Judy Holliday, and Abraham Polonsky. At the same time, through an uncompromising analysis of work by informers including Jerome Robbins, Elia Kazan, and Budd Schulberg, he explains the triumph of a stoolpigeon culture that still thrives in the America of the early twenty-first century.

The twentieth century witnessed an unprecedented increase in the number of capital cities worldwide – in 1900 there were only about forty, but by 2000 there were more than two hundred. And this, surely, is reason enough for a book devoted to the planning and development of capital cities in the twentieth century. However, the focus here is not only on recently created capitals. Indeed, the case studies which make up the core of the book show that, while very different, the development of London or Rome presents as great a challenge to planners and politicians as the design and building of Brasília or Chandigarh. Put simply, this book sets out to explore what makes capital cities different from other cities, why their planning is unique, and why there is such variety from one city to another. Sir Peter Hall’s ‘Seven Types of Capital City’ and Lawrence Vale’s ‘The Urban Design of Twentieth Century Capital Cities’ provide the setting for the fifteen case studies which follow – Paris, Moscow and St Petersburg, Helsinki, London, Tokyo, Washington, Canberra, Ottawa-Hull, Brasília, New Delhi, Berlin, Rome, Chandigarh, Brussels, New York. To bring the book to a close Peter Hall looks to the future of capital cities in the twenty-first century. For anyone with an interest in urban planning and design, architectural, planning and urban history, urban geography, or simply capital cities and why they are what they are, Planning Twentieth Century Capital Cities will be the key source book for a long time to come.

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