|Introduction: Be Radical--Be Not too Damned Radical||1|
|Part I.||Programs of Culture|
|1||For the Workingman's Sake: Imagining a Working-Class Hero||17|
|2||Heroic Spiritual Grandfather: Whitman and the Anticapitalist Imagination, 1890-1940||43|
|Part II.||Living Leaves of Grass|
|3||Prophet Singer: Guthrie and the Legacy of Whitman||81|
|4||Songs the People Sing: Guthrie's Cultural Politics||104|
|Part III.||Several Yarns, Tales, and Stories|
|5||Woody's Children: Seeger, Dylan, and the New Left||135|
|6||Bound for Glory: The Politics of Cultural Memory||164|
|Part IV.||Ghosts of History|
|7||The Sins of Somebody Else's Past: Springsteen and the Burden of Tradition||195|
|8||A Good Clear Eye on the Dirty Ways of the World: Springsteen's Democratic Vistas||227|
|Encore: This Hard Land||253|
A Race of Singers: Whitman's Working-Class Hero from Guthrie to Springsteen / Edition 1by Bryan K. Garman
Pub. Date: 09/11/2000
Publisher: The University of North Carolina Press
When Walt Whitman published Leaves of Grass in 1855, he dreamed of inspiring a "race of singers" who would celebrate the working class and realize the promise of American democracy. By examining how singers such as Woody Guthrie, Bob Dylan, and Bruce Springsteen both embraced and reconfigured Whitman's vision, Bryan Garman shows that Whitman succeeded. In/i>
When Walt Whitman published Leaves of Grass in 1855, he dreamed of inspiring a "race of singers" who would celebrate the working class and realize the promise of American democracy. By examining how singers such as Woody Guthrie, Bob Dylan, and Bruce Springsteen both embraced and reconfigured Whitman's vision, Bryan Garman shows that Whitman succeeded. In doing so, Garman celebrates the triumphs yet also exposes the limitations of Whitman's legacy.
While Whitman's verse propounded notions of sexual freedom and renounced the competitiveness of capitalism, it also safeguarded the interests of the white workingman, often at the expense of women and people of color. Garman describes how each of Whitman's successors adopted the mantle of the working-class hero while adapting the role to his own generation's concerns: Guthrie condemned racism in the 1930s, Dylan addressed race and war in the 1960s, and Springsteen explored sexism, racism, and homophobia in the 1980s and 1990s.
But as Garman points out, even the Boss, like his forebears, tends to represent solidarity in terms of white male bonding and homosocial allegiance. We can hear America singing in the voices of these artists, Garman says, but it is still the song of a white, male America.
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