Momentum

Author(s):  
William E. Ellis

By mid-1917, Cobb had become one of the best-known celebrities in America. Ellis describes Cobb’s rise to fame, the experiences he had because of it, and his day-to-day activities. Next, Ellis follows Cobb on another trip to Europe in 1918, where he continued to write articles for the Saturday Evening Post. All these pieces and others were compiled in The Glory of the Coming, demonstrating in his inimitable fashion the commonplace goings-on in war. Cobb had the highest regard for American soldiers, including the African American soldiers he wrote so much about. As a southerner, his inherited and acquired prejudices often came through in his writing as subtle racism. Cobb’s humorous works generated both backlash and praise.

Author(s):  
Jade Broughton Adams

This chapter discusses Fitzgerald’s conflicted relationship with popular culture in the interwar period from 1918 until his death in 1940. Magazines like the Saturday Evening Post were lucrative, and helped Fitzgerald to establish his early flapper ‘brand’, but he was often wary of being identified with these commercial magazines. Fitzgerald carefully uses references to popular culture in order to disrupt our expectations of his lyrical style as well as the established magazine short story conventions of the 1920s and 1930s. By using such experimental techniques whilst also courting a mass audience, Fitzgerald can be seen pursuing literary acclaim as well as financial security: joint aims that he harboured throughout his career. This chapter shows how Fitzgerald uses parody to shed new light on popular cultural forms of the period, as well as to interrogate the concept of leisure in a period in which there was a great upheaval of cultural values. He identifies with black entertainers and African American culture as a means of theorizing his own relationship with the entertainment industry. His use of parody enables him to navigate fluidly between popular and ‘high’ culture, and to undermine commercial magazine formulae, whilst establishing his own brand of literary modernism.


Author(s):  
Amanda M. Nagel

In the midst of the long black freedom struggle, African American military participation in the First World War remains central to civil rights activism and challenges to systems of oppression in the United States. As part of a long and storied tradition of military service for a nation that marginalized and attempted to subjugate a significant portion of US citizens, African American soldiers faced challenges, racism, and segregation during the First World War simultaneously on the home front and the battlefields of France. The generations born since the end of the Civil War continually became more and more militant when resisting Jim Crow and insisting on full, not partial, citizenship in the United States, evidenced by the events in Houston in 1917. Support of the war effort within black communities in the United States was not universal, however, and some opposed participation in a war effort to “make the world safe for democracy” when that same democracy was denied to people of color. Activism by organizations like the National Association for the Advancement of Colored People (NAACP) challenged the War Department’s official and unofficial policy, creating avenues for a larger number of black officers in the US Army through the officers’ training camp created in Des Moines, Iowa. For African American soldiers sent to France with the American Expeditionary Forces (AEF), the potential for combat experience led to both failures and successes, leading to race pride as in the case of the 93rd Division’s successes, and skewed evidence for the War Department to reject increasing the number of black officers and enlisted in the case of the 92nd Division. All-black Regular Army regiments, meanwhile, either remained in the United States or were sent to the Philippines rather than the battlefields of Europe. However, soldiers’ return home was mixed, as they were both celebrated and rejected for their service, reflected in both parades welcoming them home and racial violence in the form of lynchings between December 1918 and January 1920. As a result, the interwar years and the start of World War II roughly two decades later renewed the desire to utilize military service as a way to influence US legal, social, cultural, and economic structures that limited African American citizenship.


Author(s):  
David Silkenat

This chapter compares how Ulysses S. Grant and Nathan Bedford Forrest used surrender. While Forrest demanded surrender and threatened a massacre if refused, Grant saw surrender as an opportunity to prevent bloodshed. The chapter includes discussion of unconditional surrender and the massacre of African American soldiers at Fort Pillow.


Author(s):  
Donal Harris

FRESH ON THE HEELS OF COMPILING FLAPPERS AND PHILOSOPHERS (1920), a short-story collection mostly culled from fiction previously published in the Saturday Evening Post, F. Scott Fitzgerald momentarily paused to imagine how popular magazines might occupy themselves when no one is reading them. The resulting short play, “This Is a Magazine,” published in ...


Author(s):  
Aaron Shaheen

The chapter assesses the government-sponsored periodical Carry On, which frequently used the term “spirit” not just to describe the resilience of individual disabled veterans, but also the intellectual and artistic capabilities that distinguished Anglo-Americans from other races and ethnicities. In its run from 1918 to 1919,Carry On showcased the federal government’s new rehabilitative and vocational services by implicitly and explicitly drawing on evolutionary frameworks to show that only Anglo-American men were capable of transforming a prosthetic into a soul-enriching, civilization-advancing device. To make this point clearer, the magazine features several disabled African American soldiers, whose evolutionary stagnancy renders them unable to make prosthetics spiritually transformative instruments. Their depicted deficiencies are similar to the articles’ renderings of German primitiveness and brutality. In this light, the magazine shows just how slippery and manipulative racial codification could be in the opening decades of the twentieth century.


Author(s):  
William E. Ellis

After his career move from the Saturday Evening Post to Cosmopolitan magazine, owned by William Randolph Hearst, Cobb continued to win awards for his brilliant storytelling. - A man who took great pride in his accomplishments, Cobb apparently cared little about critical approval; his only goal was to satisfy his reading public—the vast middle class that read poplar magazines and novels. Ellis reveals Cobb’s close relationship with his daughter Buff, who also pursued a writing career. Much of the chapter, however, focuses on Cobb’s writing in the mid to late 1920s as he continued to do what he did best—turning out popular and predictable articles and stories for Hearst publications. Cobb was one of the highest paid writers of his time.


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