Vom Problem einer demokratischen Ästhetik zur Ästhetik einer problematischen Demokratie

From the Problems of a Democratic Aesthetic to the Aesthetics of a Problematic Democracy In analyses of poems from the 18th, 20th and 21st century, this article juxtaposes different degrees of trust in a democratic political order and the role of poetry in it. Philip Freneau, who supported a radical interpretation of the American Revolution as initiating a new and better social order, searched for a democratic poetics commensurate with the value placed on common people. For Muriel Rukeyser and even more so, Langston Hughes in the 1930s, democracy felt threatened not only by fascism abroad but by racism and exploitation at home. In 2014, Claudia Rankines Citizen: An American Lyric registers, like Rukeyser and Hughes, the difficulties in constructing a consensual reality and pushes this notion much further; surprisingly, perhaps, her work continues to see art as important to alert us to this difficulty of modern democracies and divers societies.

Introduction-Reconstructing Scientific Pasts

The universe is made of stories, not of atoms.1 —MURIEL RUKEYSER Graduate work in both physics and history taught me to use highly specialized research methods to rigorously search out truth and eradicate myths. In spring 2012, I brought this mindset with me as I sat down for lunch with physicist Pierre Hohenberg at the Apple Restaurant near Manhattan’s Washington Square Park. Pierre was a brilliant physicist and a family friend. Toward the end of his life, he was particularly invested in work on the foundations of quantum theory....

Muriel Rukeyser

Born to a wealthy family in New York City, poet and essayist Muriel Rukeyser sought to make sense of the discrepancies she saw between the privileges of her youth, the loss of her family’s money in the Great Depression, and the difficulties faced by other families around her. Her prolific career began at the age of twenty-two when poet Stephen Vincent Benét chose her first poetry collection, ...

Muriel Rukeyser and the Security of the Imagination: Poetry and Propaganda in 1940s America

This article begins by situating Muriel Rukeyser's call for ‘the security of the imagination’ within the highly charged historical contexts of the 1940s, a decade bracketed not only by war but by America's growing obsession with security – from President Roosevelt's ‘Four Freedoms’ speech of 1941 to the rise of McCarthyism at the end of the forties. It then examines how Rukeyser's work as a propagandist, a poet and an essayist in the 1940s was deeply shaped by her involvement with the American security services. It further shows how Rukeyser sought to combine words and images in both her war posters and her poems in an attempt to forge an expansive, inclusive and antifascist mode of representation. In a significant departure from other studies of this period, this article brings original archival sources into contact with Rukeyser's poetry, and reads these literary and archival documents through the theoretical lens of security studies. In the face of an increasingly paranoid, repressive political climate, Rukeyser's wartime propaganda work and poetry offers ways of thinking past dominant assumptions structuring the discourse of security.

Left of Poetry

In this incisive study, Sarah Ehlers returns to the Depression-era United States in order to unsettle longstanding ideas about poetry and emerging approaches to poetics. By bringing to light a range of archival materials and theories about poetry that emerged on the 1930s left, Ehlers reimagines the historical formation of modern poetics. Offering new and challenging readings of prominent figures such as Langston Hughes, Muriel Rukeyser, and Jacques Roumain, and uncovering the contributions of lesser-known writers such as Genevieve Taggard and Martha Millet, Ehlers illuminates an aesthetically and geographically diverse matrix of schools and movements. Resisting the dismissal of thirties left writing as mere propaganda, the book reveals how communist-affiliated poets experimented with poetic modes—such as lyric and documentary—and genres, including songs, ballads, and nursery rhymes, in ways that challenged existing frameworks for understanding the relationships among poetic form, political commitment, and historical transformation. As Ehlers shows, Depression left movements and their international connections are crucial for understanding both the history of modern poetry and the role of poetic thought in conceptualizing historical change.