An engaging investigation of how the relationships between four U.S. photographers and Mexican artists forged new developments in modernism Photographers Edward Weston, Tina Modotti, Paul Strand, and Helen Levitt were among the U.S. artists who traveled to Mexico during the interwar period seeking a community more receptive to the radical premises of modern art. Looking closely at the work produced by these four artists in Mexico, this book examines the vital role of exchanges between the expatriates and their Mexican contemporaries in forging a new photographic style. Monica Bravo offers fresh insights concerning Weston’s friendship with Diego Rivera; Modotti’s images of labor, which she published alongside the writings of the Stridentists; Strand’s engagement with folk themes and the work of composer Carlos Chávez; and the influence of Manuel Álvarez Bravo on Levitt’s contributions to a New World surrealism. Exploring how these dialogues resulted in a distinct kind of modernism characterized by inter-American interests, the book reveals the ways in which cross-border collaboration shaped a new “greater American” aesthetic.

Kate Miller may be the last great American housewife left in Van Nuys. But as she sails toward forty on a wave of a pretty good (albeit somewhat boring) life with her husband and two kids, the death of her dysfunctional mother sends Kate out on a ledge and straight up a tree. Surveying her life from atop an endangered tree near the Fashion Square Plaza Mall, Kate learns more than how to fight for a cause. She learns how one frightened woman can actually discover her true self, one branch at a time and right down the street from her own backyard.

In Politics Unseen, Ellen Macfarlane radically reframes the "pure photographs" of California art photography society Group f.64, known for depicting Western landscapes, fruits and vegetables, flowers, and faces. By foregrounding f.64 members’ and their prints’ alliances across commercial, political, and artistic domains, the book shatters entrenched understandings of the group as disinterested in contemporary events and unseats conceptions of its prints as icons of modernist purity. Instead, Politics Unseen argues the politics of f.64’s photographs become visible when interwar ideas about "purity" in the areas of eugenics, racial essence, nutrition, colonialism, and horticulture are interrogated. Ultimately, Politics Unseen alters perceptions not only of f.64, but also of what constituted a political image in 1930s America.

How two of America's greatest authors took on the Central Railroad monopoly The notorious Central Pacific Railroad riveted the attention of two great American writers: Ambrose Bierce and Frank Norris. In The Great American Railroad War, Dennis Drabelle tells a classic story of corporate greed vs. the power of the pen. The Central Pacific Railroad accepted US Government loans; but, when the loans fell due, the last surviving founder of the railroad avoided repayment. Bierce, at the behest of his boss William Randolph Hearst, swung into action writing over sixty stinging articles that became a signal achievement in American journalism. Later, Norris focused the first volume of his trilogy, The Octopus, on the freight cars of a thinly disguised version of the Central Pacific. The Great American Railroad War is a lively chapter of US history pitting two of America's greatest writers against one of America's most powerful corporations. "Readers with interests in western American history or the origins of today’s political quagmires will find much to relish. " - Publishers Weekly

Includes "The Eyes of the Panther," Ambrose Bierce; "The Locket," Kate Chopin; "Out of Season," Ernest Hemingway; "The Black Cat," Edgar Allan Poe; "Luck," Mark Twain; "The Dilettante," Edith Wharton; more.