Erskine Caldwell, Smut, and the Paperbacking of Obscenity

2017 ◽  
pp. 95-136
Keyword(s):  
1956 ◽  
Vol 17 (6) ◽  
pp. 357 ◽  
Author(s):  
Carl Bode
Keyword(s):  

2021 ◽  
pp. 53-90
Author(s):  
Justin Mellette

Chapter 2 focuses on Erskine Caldwell and seeks to complicate understandings of his best-known works Tobacco Road and God's Little Acre. Though often derided for mocking the poor and using them as comic relief, Caldwell works to instil a sense of anger in readers as he reveals the economic plight of tenant farming during the Great Depression. In addition, the chapter looks at Caldwell's nonfiction work, including his phototext You Have Seen Their Faces, written with photographer Margaret Bourke-White, and contrasts its cultural context with the comparatively better known Let Us Now Praise Famous Men. In addition, the chapter considers Caldwell's journalism, which originally raised national attention to the plight of the farmers he later immortalized in his fiction. Finally, the chapter closes by considering Caldwell’s later career and fall from critical favour.


1997 ◽  
Vol 69 (1) ◽  
pp. 236
Author(s):  
Robert H. Brinkmeyer Jr. ◽  
Wayne Mixon
Keyword(s):  

1984 ◽  
Vol 18 (2) ◽  
pp. 185-206
Author(s):  
David P. Peeler

Woody Guthrie managed to capture much of Depression America in his songs. In “This Land Is Your Land” of 1940, he reflected the leftist sentiments of many thirties Americans. Singing that it was the blank side of a “Private Property” sign that “was wrote for you and me,” Guthrie echoed the conclusion that others had reached in the preceding decade — America belongs to the working masses rather than to a few wealthy owners. For all his insight, however, Guthrie missed part of the Depression experience when he set his “Private Property” sign beside a “lonesome highway.” Rather than deserted places, the nation's roadways were virtually teeming with dispossessed people. Millions of foreclosed farmers, evicted renters and unemployed workers crowded the thoroughfares, desperately searching for new lives. Despite what Woody Guthrie had to say, America's Depression highways were far from lonesome.A certain number of those folks jamming the nation's highways were not homeless drifters. They were instead more like author Erskine Caldwell. Soon after the 1932 publication of his novel, Tobacco Road, Caldwell had taken to travelling. He continued on the road until one day in 1940 when he pulled his car into a Missouri gas station. As had been his habit for the past years, he asked the attendant not for gas or oil, but for an analysis of the state of the nation. The attendant knew Caldwell's type. For years writers had been stopping and asking him “all sorts of fool questions” without purchasing anything. Well prepared, he silently handed Caldwell a neatly printed card describing his life and thoughts, ridiculing with its detail the questions writers asked him.


2002 ◽  
Vol 36 (1) ◽  
pp. 23-42 ◽  
Author(s):  
KAREN A. KEELY

Two primary manifestations of the eugenics movement in America were the involuntary sterilization of certain classes of people, including the mentally ill and disabled and some types of criminals, and the “family study,” genealogical reports that traced criminal behavior, immorality, and mental problems throughout family trees to determine whether the characteristics are inheritable. Both family studies and sterilization proved to be important fodder for American literary authors, who made significant use of the rhetoric of family and propagation. Erskine Caldwell's Tobacco Road is particularly interesting to read with eugenics in mind, for the 1932 novel is intrinsically bound up with issues of breeding, heredity, and degeneration. Caldwell's text, which he characterized as literary realism, relies not only on the genre of family study in general but more particularly on a study conducted by Caldwell's father in 1928 and published two years later in the journal Eugenics; Ira Caldwell had attempted to rescue a poor white family from what he saw as the conditions of their ongoing degeneracy but was rejected completely by the family, leading to his renunciation of many of his social reform ideals in favor of sterilization programs. Erskine Caldwell drew heavily on his father's failed attempt at reform, and Tobacco Road ultimately argues for the sterilization of Georgia's poor whites, but with the pessimistic caveat that the problems of degeneracy and rural poverty have no final solution. Caldwell's manipulation of his audience, his observation of his father's eugenics experimentation, and his use of extended metaphors, both mechanical and agricultural, for family all create a deeply cynical novel that condemns America's economic modus operandi for the living conditions of the poor but also condemns those poor as being permanently beyond help. In the end, Caldwell argues that the poor – in both money and breeding – will be always with us and that we are doomed to witness the full horror of their degradation without the possibility of either relieving their plight or eradicating them.


1995 ◽  
Vol 82 (2) ◽  
pp. 806
Author(s):  
L. Moody Simms Jr. ◽  
Dan B. Miller
Keyword(s):  

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