A Race of Singers: Whitman's Working-Class Hero from Guthrie to Springsteen (Cultural Studies of the United States)
(Part of the Cultural Studies of the United States Series)
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Book Overview
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.
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.
Format:Paperback
Language:English
ISBN:0807848662
ISBN13:9780807848661
Release Date:September 2000
Publisher:University of North Carolina Press
Length:352 Pages
Weight:1.05 lbs.
Dimensions:0.8" x 5.8" x 9.3"
Customer Reviews
4 ratings
Stimulating, Challenging, Fascinating and Important
Published by Thriftbooks.com User , 21 years ago
This is a superb book. Its very well written and exceptionally well researched and thought through. Anyone who's interested in the work of Springsteen, Guthrie and Whitman or the liberatory potential of popular culture will find this book fascinating. I read it like a thriller - staying up all night.Garman works from a rigorously principled political position which leads him to be very even handed in his assesment of the achievments and failures of the subjects of his study. This is no hagiography but it also has none of the self righteous contempt for the popular that infects so much cultural studies.This is exemplary work.
Expanding popular music horizons
Published by Thriftbooks.com User , 23 years ago
Bryan Garman's book provides an indepth study of those singer-songwriters who, according to the author, follow in Whitman's footsteps. He analyzes Woody Guthrie and Springsteen's work thoroughly. The consideration of Guthrie's "hurt song" is fascinating. The author also makes a good case for expanding our horizons beyond the white male heterosexual dominant order. I was rather taken aback to learn that some of my old favorite English folk club singalong songs smacked of homoeroticism. In particular, we are told that Tom Paxton's "Rambling Boy" is "a love song that contains and expresses a homoeroticism that permeated the work of socially engaged artists from Whitman to Traubel, Hughes to Guthrie" (p 159). Gosh, I wonder what Paxton would say about that! I agree with Mr. Garman, however, that much of this New Left rhetoric marginalizes women. That is why folks like Ani Di Franco seem far more engaging and even revolutionary than Springsteen. A Race of Singers has proved an invaluable book for me as I prepare my PhD dissertation at a Spanish university. I recommend it to anyone studying contemporary folk music and its place in recent history.
Very well written
Published by Thriftbooks.com User , 24 years ago
Garman's analysis of Springsteen, Dylan, Guthrie, and Whitman is very provocative. Especially his insights into Springsteen and the way in which his music played off against (or was interpreted as being in sync with) Reagan's politics, and pop culture in the 80s, such as Rambo. Definitely a worthwhile read for someone who considers her or himself a fan of any of the aforementioned singers, or someone interested in an in-depth analysis of the politics of these singers.
New Academic Insight on Springsteen
Published by Thriftbooks.com User , 24 years ago
As a cultural figure of the late 20th century Bruce Springsteen has long been admired as well as the object of derision in some circles. Garman's work places Springsteen in a context far removed from the fickle nature of fame. By linking Springsteen with Guthrie and with Whitman Garman allows us to appreciate Springsteen as far more than his icon status as "the boss", but rather as the latest in a long line of cultural critics who allow us to "hold a mirror up to nature" as Shakespeare had Hamlet say long ago. Garman's book is not just for an admirer of Springsteen, but also for anyone with an appreciation for social commentary and its long rich history in the US.
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