C. Culleton – författare

Modernism on File: Writers, Artists, and the FBI, 1920-1950 brings together important new scholarship focused on J. Edgar Hoover's FBI and its institutional presence in shaping and directing American print, film, and art culture. From Harlem to Hollywood, Hoover and his bureau workers were bent on decontaminating America's creativity and this collection looks at the writers and artists who were tagged, tracked, and in some cases, trapped by the FBI. Contributors detail the threatening aspects of political power and critique the very historiography of modernism, acknowledging that modernism was on trial during those years.

Modernism on File: Writers, Artists, and the FBI, 1920-1950 brings together important new scholarship focused on J. Edgar Hoover''s FBI and its institutional presence in shaping and directing American print, film, and art culture. From Harlem to Hollywood, Hoover and his bureau workers were bent on decontaminating America''s creativity and this collection looks at the writers and artists who were tagged, tracked, and in some cases, trapped by the FBI. Contributors detail the threatening aspects of political power and critique the very historiography of modernism, acknowledging that modernism was on trial during those years.

This book scrutinizes the way modern Irish writers exploited or surrendered to primitivism, and how primitivism functions as an idealized nostalgia for the past as a potential representation of difference and connection.

This book scrutinizes the way modern Irish writers exploited or surrendered to primitivism, and how primitivism functions as an idealized nostalgia for the past as a potential representation of difference and connection.

Several years ago on a whim, Culleton requested James Joyce's FBI file. Hoover had Joyce under surveillance as a suspected Communist, and the chain of cross-references that Culleton followed from Joyce's file lead her to obscenity trials and, less obviously, to a plot to assassinate Irish labour leader James Larkin. Hoover devoted a great deal of energy to keeping watch on intellectuals and considered literature to be dangerous on a number of levels. Joyce and the G-Men explores how these linkages are indicative of the culture of the FBI under Hoover, and the resurgence of American anti-intellectualism.

Modernism on File: Writers, Artists, and the FBI, 1920-1950 brings together important new scholarship focused on J. Edgar Hoover's FBI and its institutional presence in shaping and directing American print, film, and art culture. From Harlem to Hollywood, Hoover and his bureau workers were bent on decontaminating America's creativity and this collection looks at the writers and artists who were tagged, tracked, and in some cases, trapped by the FBI. Contributors detail the threatening aspects of political power and critique the very historiography of modernism, acknowledging that modernism was on trial during those years.

This book scrutinizes the way modern Irish writers exploited or surrendered to primitivism, and how primitivism functions as an idealized nostalgia for the past as a potential representation of difference and connection.

Several years ago on a whim, Culleton requested James Joyce's FBI file. Hoover had Joyce under surveillance as a suspected Communist, and the chain of cross-references that Culleton followed from Joyce's file lead her to obscenity trials and, less obviously, to a plot to assassinate Irish labour leader James Larkin. Hoover devoted a great deal of energy to keeping watch on intellectuals and considered literature to be dangerous on a number of levels. Joyce and the G-Men explores how these linkages are indicative of the culture of the FBI under Hoover, and the resurgence of American anti-intellectualism.