In a stunning revision of radical politics during the Popular Front period, Bill Mullen redefines the cultural renaissance of the 1930s and early 1940s as the fruit of an extraordinary rapprochement between African-American and white members of the U.S. Left struggling to create a new American Negro culture. A dynamic reappraisal of a critical moment in American cultural history, Popular Fronts includes a major reassessment of the politics of Richard Wright's critical reputation, a provocative reading of class struggle in Gwendolyn Brooks's A Street in Bronzeville, and in-depth examinations of the institutions that comprised Chicago's black popular front: The Chicago Defender, the period's leading black newspaper; Negro Story, the first magazine devoted to publishing short stories by and about black Americans; and the WPA-sponsored South Side Community Art Center.

This is the first full-length study in English of the Popular Front, the left-wing coalition which emerged in France during the 1930s in response to the threat of fascism and which went on to win the elections of 1936, giving France her first socialist premier, Léon Blum. After a brief narrative history of the Popular Front the book is organised thematically around the main historiographical debates to which the Popular Front has given rise. Among the issues considered are the origins of the strikes of 1936, the reasons for the failure of the Popular Front economic policy, the relationship between culture and politics in France in the 1930s and the causes of France's policy of non-intervention in the Spanish Civil War. The book views the Popular Front at three levels - as a mass movement, political coalition and government - and argues that it must not be seen just as a narrowly political phenomenon but as a political, social and cultural explosion which attempted to break down the barriers between all areas of human activity in the highly compartmentalised society of France in the 1930s. Even if the Popular Front ultimately failed in this aim it has acquired legendary status in France, and the epilogue to the book briefly examines the 'myth' of the Popular Front from 1936 to the present day.

The authors highlight the new symbolic forces put in play by technologies of the illustrated press and the sound film - technologies that converged with efforts among writers, artists, and other intellectuals to respond to the crises of the decade.

The first multi-dimensional approach to the Front phenomenon of the 1930s.

The Communist International's Popular Front campaign of the 1930s brought to the fore ideas that resonated in Chicago's African American community. Indeed, the Popular Front not only connected to the black experience of the era, but outlasted its Communist Party affiliation to serve as both model and inspiration for a postwar cultural insurrection led by African Americans. With a new preface Bill V. Mullen updates his dynamic reappraisal of a critical moment in American cultural history. Mullen's study includes reassessments of the politics of Richard Wright's critical reputation and a provocative reading of class struggle in Gwendolyn Brooks' A Street in Bronzeville. He also takes an in-depth look at the institutions that comprised Chicago's black popular front: the Chicago Defender, the period's leading black newspaper; Negro Story, the first magazine devoted to publishing short stories by and about African Americans; and the WPA-sponsored South Side Community Art Center.

Out of the social and economic turmoil of Europe in the 1930s, the Popular Front emerged as the spearhead of the left's bid to stop fascism in its tracks. Fifty years on from the birth of the Popular Front this edited collection assesses the impact of the idea of bourgeois-proletarian alliance on the European left as a whole. It also examines the fate of the Popular Front governments, both in France, which remained nominally 'at peace', and in Spain, where the bitter strife over social and economic reform erupted into open civil war.

As garment workers, longshoremen, autoworkers, sharecroppers and clerks took to the streets, striking and organizing unions in the midst of the Depression, artists, writers and filmmakers joined the insurgent social movement by creating a cultural front. Disney cartoonists walked picket lines, and Billie Holiday sand 'Strange Fruit' at the left-wing cabaret, Café Society. Duke Ellington produced a radical musical, Jump for Joy, New York garment workers staged the legendary Broadway revue Pins and Needles, and Orson Welles and his Mercury players took their labor operas and anti-fascist Shakespeare to Hollywood and made Citizen Kane. A major reassessment of US cultural history, The Cultural Front is a vivid mural of this extraordinary upheaval which reshaped American culture in the twentieth century.