Wartime New York was the city where French Symbolism — Maurice Maeterlinck — came to live out its last productive years; where French surrealism — André Breton — came to survive; and where French structuralism — Claude Lévi-Strauss — came to be born. From the largely forgotten prewar visit to the city of Pétain and Laval to the seizing, burning, and capsizing of the Normandie, France’s floating museum, in the Hudson River, Jeffrey Mehlman evokes the writerly world of French Manhattan, its achievements and feuds, presenting a series of surprising and expertly etched portraits against the backdrop of an overriding irony: the United States, the world’s principal hope in the battle against Hitler’s barbarism, was for the most part more eager to deal with Pétain’s collaborationist regime than with what Secretary of State Cordell Hull called de Gaulle’s "so-called Free French" movement. “One of modern European history’s great stories. Jeffrey Mehlman tells the tale appealingly and persuasively... The individual stories — not least the symbolism of the ocean liner Normandie’s tragic burning and capsizing... — would be plenty to go on with, but Mr. Mehlman’s theme is a larger one. He finds the French intellectuals in World War II New York not very different from the French aristocrats who found refuge in Koblenz in the last decade of the 18th century, hoping for a reversal of the Revolution and restoration of the ancien regime.” — Colin Walters, Washington Times “Subtle, erudite, and often humorous. Previous attempts by literature professors to tackle culture have not always resulted in works as mind-stretching and entertaining as this account.” — Stanley Hoffman, Foreign Affairs “A series of elegant essays of cultural criticism.” — Kim Munholland, American Historical Review “Jeffrey Mehlman has written an intriguing, highly original work... [He] has succeeded in achieving a personal, yet erudite, series of insights about intellectual production of French writers and philosophers exiled in New York during the Second World War... Mehlman deftly and sometime humorously brings to life this motley cast of characters.” — Jonathan Gosnell, French Review “Mehlman’s insightful book on French exiles in wartime New York City enriches the understanding of how very diverse political exiles reacted to the traumatic suffering of their homelands and other countries occupied by the Nazis.” — Edmund J. Campion,Magill’s Literary Annual “Mehlman’s greatest achievement... is neither the history he’s opened up nor the reputations he’s reclaimed. It is the quality of the close reading that is most admirable, tracing words and themes as they echo and resonate from one text to another.” — David Herman, Jewish Quarterly “Mehlman has written a brilliant, original, and challenging work. There is quite simply no other work like it, because Mehlman works on two levels at once, historical and metaphysical. It should find an eager audience among scholars working in the fields of twentieth-century French literature, the history of French thought, and the history of France in World War II.” — Arthur Goldhammer, Center for European Studies,Harvard University

From the largely forgotten prewar visit to the city of Petain and Laval to the seizing, burning, and capsizing of the Normandie, France's floating museum, in the Hudson River, Jeffrey Mehlman evokes the writerly world of French Manhattan, its achievements and feuds, during one of the most vexed periods in French history."--BOOK JACKET.

A survey of avant-garde cultural and political magazines and journals.

As a pioneering volume to consider the impact of exile on historical scholarship in the twentieth century in a systematic and global way, looking at Europe, North America, South America and Asia, Dynamics of Emigration asks about epistemic repercussions on the experience of exile and exiles. Analyzing both the impact that exile scholars had on their host societies and on the societies they had to leave, the volume investigates exiles’ pathways to integration into new host societies and the many difficulties they face establishing themselves in new surroundings. Focusing on the age of extremes and the realms of exile from fascist and right-wing dictatorships as well as communist regimes, the contributions look at the reasons scholars have for going into exile while providing side-by-side examination of the support organizations and paths for success involved with living in exile.

The fascinating story of émigré intellectuals, writers, artists, scientists, movie directors, and scholars — including Bertolt Brecht, Theodor Adorno, Albert Einstein, Hannah Arendt, Thomas Mann, Arnold Schoenberg, George Grosz, Erik Erikson, Billy Wilder and Fritz Lang — who fled Nazi Germany and changed America. Heilbut provides a vivid narrative of how they viewed their new country and how America reacted to their arrival as the atom bomb was being developed, the Cold War and McCarthyism were underway, and Hollywood dominated moviemaking. “The son of Jewish immigrants who fled Germany, Anthony Heilbut grew up in New York. Exiled in Paradise, a social history he wrote more than 35 years ago, is still the most immersive account of the German-speaking exiles who came to this country between 1933 and 1941 and of their outsize influence on the culture they found here... Mr. Heilbut provides an absorbingly detailed chronicle of some of these immigrant lives — among them Theodor Adorno, Hannah Arendt, Thomas Mann, Billy Wilder and Cold War physicists.” — Donna Rifkind, The Wall Street Journal “Still the best book on the topic” — Phillip Lopate, The New York Times Book Review “Insightful ... valuable and stimulating ... For some readers, especially the children of generations of émigrés, the book will provide a background to their most basic intellectual assumptions.” — Christopher Lehmann-Haupt, The New York Times “From one page to the next, the book transcends its stated purpose of providing a link between the history of the German-Jewish immigrants and their staggering cultural achievements to acquire the dimensions of that mysterious reality which even a Bresson cannot hope to define: a work of art.” — Marcel Ophuls, American Film Magazine “The story of these refugees has finally found its singular and single voice; it is that of Anthony Heilbut, himself the son of exiles ... His book turns into something more than a panorama about foreigners. It is a way of revealing to Americans themselves what their country really is like.” — Ariel Dorfman, The Washington Post “Anthony Heilbut has exercised impressive scholarship, and even a touch of poetry, to get to the heart of this diaspora.” — Time

An examination of the popular music culture of the post-Bolshevik Russian emigration and the impact made by this group on American culture and politics. Performing Tsarist Russia in New York begins with a rich account of the musical evenings that took place in the Russian émigré enclave of Harlem in the 1920s and weaves through the world of Manhattan’s Russian restaurants, Tin Pan Alley industry, Broadway productions, 1939 World’s Fair, Soviet music distributors, postwar Russian parish musical life, and Cold War radio programming to close with today’s Russian ball scene, exploring how the idea of Russia Abroad has taken shape through various spheres of music production in New York over the course of a century. Engaging in an analysis of musical styles, performance practice, sheet music cover art, the discourses surrounding this music, and the sonic, somatic, and social realms of dance, author Natalie K. Zelensky demonstrates the central role played by music in shaping and maintaining the Russian émigré diaspora over multiple generations as well as the fundamental paradox underlying this process: that music’s sustaining power in this case rests on its proclivity to foster collective narratives of an idealized prerevolutionary Russia while often evolving stylistically to remain relevant to its makers, listeners, and dancers. By combining archival research with fieldwork and interviews with Russian émigrés of various generations and emigration waves, Zelensky presents a close historical and ethnographic examination of music’s potential as an aesthetic, discursive, and social space through which diasporans can engage with an idea of a mythologized homeland, and, in turn, the vital role played by music in the organization, development, and reception of Russia Abroad.