The Colossal P. T. Barnum Reader reveals the trailblazing American showman as, by turns, a moral reformer, a habitual hoaxer, an insightful critic, a savvy "puffer," a master of images, a sparkling writer, a relentless provocateur, and an early advocate of "family" entertainments. Taken together, these selections paint a new and more complete portrait of this complex man than has ever been seen before. James W. Cook's The Colossal P. T. Barnum Reader includes large excerpts from Barnum's semi-autobiographical novel The Adventures of an Adventurer (1841), his European letters from 1844-46 informing readers of the New York Atlas of his reception by royalty overseas, selections from his Ancient and Modern Humbugs of the World (Barnum's 1864-65 insider's look into nineteenth-century frauds), and much, much more. The book also features vintage photographs and reproductions of difficult-to-find images from Barnum's two-decade collaboration with the prominent New York lithographers Currier and Ives. Collectively, these materials help us to track the shifting personas of the great showman, his promotional choices, and his publics across the nineteenth century. Book jacket.

In October 1869, as America stood on the brink of becoming a thoroughly modern nation, workers unearthed what appeared to be a petrified ten-foot giant on a remote farm in upstate New York. The discovery caused a sensation. Over the next several months, newspapers devoted daily headlines to the story and tens of thousands of Americans—including Oliver Wendell Holmes, Ralph Waldo Emerson, and the great showman P. T. Barnum—flocked to see the giant on exhibition. In the colossus, many saw evidence that their continent, and the tiny hamlet of Cardiff, had ties to Biblical history. American science also weighed in on the discovery, and in doing so revealed its own growing pains, including the shortcomings of traditional education, the weaknesses of archaeological methodology, as well as the vexing presence of amateurs and charlatans within its ranks. A national debate ensued over the giant's origins, and was played out in the daily press. Ultimately, the discovery proved to be an elaborate hoax. Still, the story of the Cardiff Giant reveals many things about America in the post-Civil War years. After four years of destruction on an unimagined scale, Americans had increasingly turned their attention to the renewal of progress. But the story of the Cardiff Giant seemed to shed light on a complicated, mysterious past, and for a time scientists, clergymen, newspaper editors, and ordinary Americans struggled to make sense of it. Hucksters, of course, did their best to take advantage of it. The Cardiff Giant was one of the leading questions of the day, and how citizens answered it said much about Americans in 1869 as well as about America more generally.

The Adman's Dilemma is a cultural biography that explores the rise and fall of the advertising man as a figure who became effectively a licensed deceiver in the process of governing the lives of American consumers. Apparently this personage was caught up in a contradiction, both compelled to deceive yet supposed to tell the truth. It was this moral condition and its consequences that made the adman so interesting to critics, novelists, and eventually filmmakers. The biography tracks his saga from its origins in the exaggerated doings of P.T. Barnum, the emergence of a new profession in the 1920s, the heyday of the adman's influence during the post-WW2 era, the later rebranding of the adman as artist, until the apparent demise of the figure, symbolized by the triumph of that consummate huckster, Donald Trump. In The Adman's Dilemma, author Paul Rutherford explores how people inside and outside the advertising industry have understood the conflict between artifice and authenticity. The book employs a range of fictional and nonfictional sources, including memoirs, novels, movies, TV shows, websites, and museum exhibits to suggest how the adman embodied some of the strange realities of modernity.

Here is an animated and wonderfully engaging work of cultural history that lays out America’s unruly past by describing the ways in which cutting loose has always been, and still is, an essential part of what it means to be an American. From the time the Pilgrims landed at Plymouth Rock, Americans have defied their stodgy rules and hierarchies with pranks, dances, stunts, and wild parties, shaping the national character in profound and lasting ways. In the nation’s earlier eras, revelers flouted Puritans, Patriots pranked Redcoats, slaves lampooned masters, and forty-niners bucked the saddles of an increasingly uptight middle class. In the twentieth century, fun-loving Americans celebrated this heritage and pushed it even further: flappers “barney-mugged” in “petting pantries,” Yippies showered the New York Stock Exchange with dollar bills, and B-boys invented hip-hop in a war zone in the Bronx. This is the surprising and revelatory history that John Beckman recounts in American Fun. Tying together captivating stories of Americans’ “pursuit of happiness”—and distinguishing between real, risky fun and the bland amusements that paved the way for Hollywood, Disneyland, and Xbox—Beckman redefines American culture with a delightful and provocative thesis. (With black-and-white illustrations throughout.)

This book holds classical liberalism responsible for an American concept of beauty that centers upon women, wilderness, and machines. For each of the three beauty components, a cultural entrepreneur supremely sensitive to liberalism’s survival agenda is introduced. P.T. Barnum’s exhibition of Jenny Lind is a masterful combination of female elegance and female potency in the subsistence realm. John Muir’s Yosemite Valley is surely exquisite, but only after a rigorous liberal education prepares for its experience. And Harley Earl’s 1955 Chevrolet Bel Air is a dreamy expressionist sculpture, but with a practical 265 cubic inch V-8 underneath. Not that American beauty has been uniformly pragmatic. The 1950s are reconsidered for having temporarily facilitated a relaxation of the liberal survival priorities, and the creations of painter Jackson Pollock and jazz virtuoso Ornette Coleman are evaluated for their resistance to the pressures of pragmatism. The author concludes with a provocative speculation regarding a future liberal habitat where Emerson’s admonition to attach stars to wagons is rescinded.

This edited collection explores the genesis of scientific conceptions of race and their accompanying impact on the taxonomy of human collections internationally as evidenced in ethnographic museums, world fairs, zoological gardens, international colonial exhibitions and ethnic shows. A deep epistemological change took place in Europe in this domain toward the end of the eighteenth century, producing new scientific representations of race and thereby triggering a radical transformation in the visual economy relating to race and racial representation and its inscription in the body. These practices would play defining roles in shaping public consciousness and the representation of “otherness” in modern societies. The Invention of Race provides contextualization that is often lacking in contemporary discussions on diversity, multiculturalism and race.