Icons of America Books

Gore Vidal’s uniquely irreverent take on America’s founding fathers will enliven all future discussion of the enduring power of their nation-building ideas “Trust Gore Vidal to teach us things we never learned in school. In Inventing a Nation, his quick wit flickers over the canonical tale of our republic’s founding, turning it into a dark and deliciously nuanced comedy of men, manners, and ideas.”—Amanda Heller, Boston Globe (Sunday) “Entertaining and enlightening. . . . A must for buffs of American civilization and its discontents.”— Booklist Gore Vidal, one of the master stylists of American literature and one of the most acute observers of American life and history, turns his immense literary and historiographic talent to a portrait of the formidable trio of George Washington, John Adams, and Thomas Jefferson. In Inventing a Nation, Vidal transports the reader into the minds, the living rooms (and bedrooms), the convention halls, and the salons of Washington, Jefferson, Adams, and others. We come to know these men, through Vidal’s splendid and percipient prose, in ways we have not up to now—their opinions of each other, their worries about money, their concerns about creating a viable democracy. Vidal brings them to life at the key moments of decision in the birthing of our nation. He also illuminates the force and weight of the documents they wrote, the speeches they delivered, and the institutions of government by which we still live. More than two centuries later, America is still largely governed by the ideas championed by this triumvirate.

Wall Street: no other place on earth is so singularly identified with money and the power of money. And no other American institution has inspired such deep moral, cultural, and political ambivalence. Is the Street an unbreachable bulwark defending commercial order? Or is it a center of mad ambition? This book recounts the colorful history of America’s love-hate relationship with Wall Street. Steve Fraser frames his fascinating analysis around the roles of four iconic Wall Street types—the aristocrat, the confidence man, the hero, and the immoralist—all recurring figures who yield surprising insights about how the nation has wrestled, and still wrestles, with fundamental questions of wealth and work, democracy and elitism, greed and salvation. Spanning the years from the first Wall Street panic of 1792 to the dot.com bubble-and-bust and Enron scandals of our own time, the book is full of stories and portraits of such larger-than-life figures as J. P. Morgan, Cornelius Vanderbilt, and Michael Milken. Fraser considers the conflicting attitudes of ordinary Americans toward the Street and concludes with a brief rumination on the recent notion of Wall Street as a haven for Everyman.

First performed at the midpoint of the twentieth century, John Cage’s 4'33" , a composition conceived of without a single musical note, is among the most celebrated and ballyhooed cultural gestures in the history of modern music. A meditation on the act of listening and the nature of performance, Cage’s controversial piece became the iconic statement of the meaning of silence in art and is a landmark work of American music. In this book, Kyle Gann, one of the nation’s leading music critics, explains 4'33" as a unique moment in American culture and musical composition. Finding resemblances and resonances of 4'33" in artworks as wide-ranging as the paintings of the Hudson River School and the music of John Lennon and Yoko Ono, he provides much-needed cultural context for this fundamentally challenging and often misunderstood piece. Gann also explores Cage’s craft, describing in illuminating detail the musical, philosophical, and even environmental influences that informed this groundbreaking piece of music. Having performed 4'33" himself and as a composer in his own right, Gann offers the reader both an expert’s analysis and a highly personal interpretation of Cage’s most divisive work.

Books on Whittaker Chambers and Alger Hiss abound, as countless scholars have labored to uncover the facts behind Chambers’s shocking accusation before the House Committee on Un-American Activities in the summer of 1948—that Alger Hiss, a former rising star in the State Department, had been a Communist and engaged in espionage. In this highly original work, Susan Jacoby turns her attention to the Hiss case, including his trial and imprisonment for perjury, as a mirror of shifting American political views and passions. Unfettered by political ax-grinding, the author examines conflicting responses, from scholars and the media on both the left and the right, and the ways in which they have changed from 1948 to our present post–Cold War era. With a brisk, engaging style, Jacoby positions the case in the politics of the post–World War II era and then explores the ways in which generations of liberals and conservatives have put Chambers and Hiss to their own ideological uses. An iconic event of the McCarthy era, the case of Alger Hiss fascinates political intellectuals not only because of its historical significance but because of its timeless relevance to equally fierce debates today about the difficult balance between national security and respect for civil liberties.

In this new exploration of the I Have a Dream speech, Sundquist places it in the history of American debates about racial justice and demonstrates how the speech, an exultant blend of grand poetry and powerful elocution, perfectly expresses the story of African-American freedom.

In a work of great wisdom and insight, art critic and philosopher Arthur Danto delivers a compact, masterful tour of Andy Warhol’s personal, artistic, and philosophical transformations. Danto traces the evolution of the pop artist, including his early reception, relationships with artists such as Jasper Johns and Robert Rauschenberg, and the Factory phenomenon. He offers close readings of individual Warhol works, including their social context and philosophical dimensions, key differences with predecessors such as Marcel Duchamp, and parallels with successors like Jeff Koons. Danto brings to bear encyclopedic knowledge of Warhol’s time and shows us Warhol as an endlessly multidimensional figure—artist, political activist, filmmaker, writer, philosopher—who retains permanent residence in our national imagination. Danto suggests that "what makes him an American icon is that his subject matter is always something that the ordinary American understands: everything, or nearly everything he made art out of came straight out of the daily lives of very ordinary Americans. . . . The tastes and values of ordinary persons all at once were inseparable from advanced art."

“The Big House" is America’s idea of the prison—­a huge, tough, ostentatiously oppressive pile of rock, bristling with rules and punishments, overwhelming in size and the intent to intimidate. Stephen Cox tells the story of the American prison—its politics, its sex, its violence, its inability to control itself—and its idealization in American popular culture. This book investigates both the popular images of prison and the realities behind them­: problems of control and discipline, maintenance and reform, power and sexuality. It conveys an awareness of the limits of human and institutional power, and of the symbolic and iconic qualities the “Big House” has attained in America’s understanding of itself.

In Dwight D. Eisenhower’s last speech as president, on January 17, 1961, he warned America about the “military-industrial complex,” a mutual dependency between the nation’s industrial base and its military structure that had developed during World War II. After the conflict ended, the nation did not abandon its wartime economy but rather the opposite. Military spending has steadily increased, giving rise to one of the key ideas that continues to shape our country’s political landscape. In this book, published to coincide with the fiftieth anniversary of Eisenhower’s farewell address, journalist James Ledbetter shows how the government, military contractors, and the nation’s overall economy have become inseparable. Some of the effects are beneficial, such as cell phones, GPS systems, the Internet, and the Hubble Space Telescope, all of which emerged from technologies first developed for the military. But the military-industrial complex has also provoked agonizing questions. Does our massive military establishment—bigger than those of the next ten largest combined—really make us safer? How much of our perception of security threats is driven by the profit-making motives of military contractors? To what extent is our foreign policy influenced by contractors’ financial interests? Ledbetter uncovers the surprising origins and the even more surprising afterlife of the military-industrial complex, an idea that arose as early as the 1930s, and shows how it gained traction during World War II, the Cold War, and the Vietnam era and continues even today.

This riveting study of Joe DiMaggio offers a more sympathetic look at his life beyond the baseball field, a reversal of how the legendary sports icon has been portrayed in recent years As the New York Yankees' star centerfielder from 1936 to 1951, Joe DiMaggio is enshrined in America's memory as the epitome in sports of grace, dignity, and that ineffable quality called "class." But his career after retirement, starting with his nine-month marriage to Marilyn Monroe, was far less auspicious. Writers like Gay Talese and Richard Ben Cramer have painted the private DiMaggio as cruel or self-centered. Now, Jerome Charyn restores the image of this American icon, looking at DiMaggio's life in a more sympathetic light. DiMaggio was a man of extremes, superbly talented on the field but privately insecure, passive, and dysfunctional. He never understood that for Monroe, on her own complex and tragic journey, marriage was a career move; he remained passionately committed to her throughout his life. He allowed himself to be turned into a sports memorabilia money machine. In the end, unable to define any role for himself other than "Greatest Living Ballplayer," he became trapped in "a horrible kind of minutia." But where others have seen little that was human behind that minutia, Charyn in Joe DiMaggio presents the tragedy of one of American sports' greatest figures.

Hollywood's famous sign, constructed of massive white block letters set into a steep hillside, is an emblem of the movie capital it looms over and an international symbol of glamour and star power. To so many who see its image, the sign represents the earthly home of that otherwise ethereal world of fame, stardom, and celebrity--the goal of American and worldwide aspiration to be in the limelight, to be, like the Hollywood sign itself, instantly recognizable. How an advertisement erected in 1923, touting the real estate development Hollywoodland, took on a life of its own is a story worthy of the entertainment world that is its focus. Leo Braudy traces the remarkable history of this distinctly American landmark, which has been saved over the years by a disparate group of fans and supporters, among them Alice Cooper and Hugh Hefner, who spearheaded its reconstruction in the 1970s. He also uses the sign's history to offer an intriguing look at the rise of the movie business from its earliest, silent days through the development of the studio system that helped define modern Hollywood. Mixing social history, urban studies, literature, and film, along with forays into such topics as the lure of Hollywood for utopian communities and the development of domestic architecture in Los Angeles, The Hollywood Sign is a fascinating account of how a temporary structure has become a permanent icon of American culture.

Bob Dylan is an iconic figure in American musical and cultural history, lauded by Time magazine as one of the hundred most important people of the twentieth century. For nearly fifty years the singer-songwriter has crafted his unique brand of music, from his 1962 self-titled debut album to 2009's #1 hit Together Through Life , appealing to everyone from baby boomers to the twenty-somethings who storm the stage at his concerts. In Bob Dylan: Like a Complete Unknown , literary scholar and music critic David Yaffe considers Dylan from four perspectives: his complicated relationship to blackness (including his involvement in the civil rights movement and a secret marriage with a black backup singer), the underrated influence of his singing style, his fascinating image in films, and his controversial songwriting methods that have led to charges of plagiarism. Each chapter travels from the 1960s to the present, offering a historical perspective on the many facets of Dylan's life and career, exploring the mystery that surrounds the enigmatic singer and revealing the complete unknown Dylan.

Jackson Pollock (1912–1956) not only put American art on the map with his famous "drip paintings," he also served as an inspiration for the character of Stanley Kowalski in Tennessee Williams's A Streetcar Named Desire —the role that made Marlon Brando famous. Like Brando, Pollock became an icon of rebellion in 1950s America, and the brooding, defiant persona captured in photographs of the artist contributed to his celebrity almost as much as his notorious paintings did. In the years since his death in a drunken car crash, Pollock's hold on the public imagination has only increased. He has become an enduring symbol of the tormented artist—our American van Gogh. In this highly engaging book, Evelyn Toynton examines Pollock's itinerant and poverty-stricken childhood in the West, his encounters with contemporary art in Depression-era New York, and his years in the run-down Long Island fishing village that, ironically, was transformed into a fashionable resort by his presence. Placing the artist in the context of his time, Toynton also illuminates the fierce controversies that swirled around his work and that continue to do so. Pollock's paintings captured the sense of freedom and infinite possibility unique to the American experience, and his life was both an American rags-to-riches story and a darker tale of the price paid for celebrity, American style.

A stirring history of the Statue of Liberty, from its creation in France to its renewed significance in the post-9/11 years “If you think you know all there is to know about the Statue of Liberty, you’ll be pleasantly surprised.”—Sam Roberts, New York Times “The book unfolds like a play—the ups and downs of the project, the difficulties in raising money, in constructing it, in publicizing it, in maintaining it, and in celebrating it. A delight to read.”—Gary Nash, author of The Liberty Bell A universally recognized icon, the Statue of Liberty is perhaps the most beloved of all American symbols. Yet no one living in 1885, when the crated monument arrived in New York Harbor, could have foreseen the central place the Statue of Liberty would come to occupy in the American imagination. With the particular insights of a cultural historian and scholar of French history, Edward Berenson tells the little-known stories of the statue’s improbable beginnings, transatlantic connections, and the changing meanings it has held for each successive American generation. Berenson begins with the French intellectuals who decided for their own domestic political reasons to pay monumental tribute to American liberty. Without any official backing, they designed the statue, announced the gift, and determined where it should go. The initial American response, not surprisingly, was less than enthusiastic, and the project had to overcome countless difficulties before the statue was at last unveiled to the public in New York Harbor in 1886. The trials of its inception and construction, however, are only half of the story. Berenson shows that the statue’s symbolically indistinct, neoclassical form has allowed Americans to interpret its meaning in diverse ways: as representing the emancipation of the slaves, Tocqueville’s idea of orderly liberty, opportunity for “huddled masses,” and, in the years since 9/11, the freedom and resilience of New York City and the United States in the face of terror.

The surprising history of the spectacular Gateway Arch in St. Louis, the competing agendas of its supporters, and the mixed results of their ambitious plan Rising to a triumphant height of 630 feet, the Gateway Arch in St. Louis is a revered monument to America’s western expansion. Envisioned in 1947 but not completed until the mid-1960s, the arch today attracts millions of tourists annually and is one of the world’s most widely recognized structures. By weaving together social, political, and cultural history, historian Tracy Campbell uncovers the complicated and troubling history of the beloved structure. This compelling book explores how a medley of players with widely divergent motivations (civic pride, ambition, greed, among others) brought the Gateway Arch to fruition, but at a price the city continues to pay. Campbell dispels long-held myths and casts a provocative new light on the true origins and meaning of the Gateway Arch. He shows that the monument was the scheme of shrewd city leaders who sought to renew downtown St. Louis and were willing to steal an election, destroy historic buildings, and drive out local people and businesses to achieve their goal. Campbell also tells the human story of the architect Eero Saarinen, whose prize-winning design brought him acclaim but also charges of plagiarism, and who never lived to see the completion of his vision. As a national symbol, the Gateway Arch has a singular place in American culture, Campbell concludes, yet it also stands as an instructive example of failed urban planning.