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by Ann Douglas
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  • Author:
    Ann Douglas
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  • Publisher:
    Picador; First Edition edition (January 26, 1996)
  • Pages:
    624 pages
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    1569 kb
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    1129 kb
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    1314 kb
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Terrible Honesty book. Goodreads helps you keep track of books you want to read. Start by marking Terrible Honesty: Mongrel Manhattan in the 1920s as Want to Read: Want to Read savin. ant to Read.

Terrible Honesty book.

Terrible Honesty is the biography of a decade, a portrait of the soul of a generation - based on. .

Terrible Honesty is the biography of a decade, a portrait of the soul of a generation - based on the lives and work of more than a hundred men and women. It sparkles with something like that same vital essence that Douglas locates at the core of the 1920s in the United States is by far the most racially inclusive cultural study of its type by an American scholar.

New York : Farrar, Straus, and Giroux. Books for People with Print Disabilities. Internet Archive Books. Delaware County District Library (Ohio).

Neat remainder stamp, the letter P in red ink, on bottom and top edges. Other Products from hartmannbooks (View All). The Chance To Survive: Rare Breeds in a Changing World.


Douglas cannot help but celebrate the modernist attack on "Victorian pieties" and what she calls a suffocating "Titaness"-her target almost two decades ago in The Feminization of American Culture

Published by Thriftbooks. It is a little difficult true.

Published by Thriftbooks. But for a New Yorkphile, like me, it can't be beat, if you want to know New York in the 1920's, and to a lesser degree the nation. All the familiar names are covered: Scott and Zelda, Woolcott, Parker, Gerstein Stein, Freud,Jazz and Ellington among many others. New York as a huge rush for outsiders from their first sight. The skyscraper boom, and builders and architects.

mongrel Manhattan in the 1920s. by Douglas, Ann. Published 1996 by Picador in London. American Arts, Arts, American, Civilization, History, Intellectual life, Protected DAISY, In library. Manhattan (New York, . Manhattan (New York, New York, New York (. First published: New York: Farrar, Straus and Giroux, 1995.

Ann Douglas's silver-clad brick of a book - 480 pages of closely argued history, cultural studies and literary criticism . Douglas makes her argument crisply in the opening pages. Its core confidence in New York's uniqueness is very, well, New York.

Ann Douglas's silver-clad brick of a book - 480 pages of closely argued history, cultural studies and literary criticism, plus another 100 of denser-still bibliographical essay - tries to make sense of this precocious bedlam. She teaches at Columbia University; somehow the long eulogy from the New York Times on the back cover ("one of the most amazing books on America. ) comes as less than a surprise.

Ann Douglas, Terrible Honesty: Mongrel Manhattan in the 1920s(New York: Farrar, Straus & Giroux, 1995), 7. oogle . Kevin J. H. Dettmar and Stephen Watt (Ann Arbor: University of Michigan Press, 1996). oogle Scholar. 20. T. S. Eliot, Tradition and the Individual Talent, in Selected Essays, 1917–1932 (New York: Harcourt, Brace & Company, 1932), 10–11. 24. Charles Tomlinson, e. Marianne Moore: A Collection of Critical Essays (Englewood Cliffs, NJ: Prentice-Hall, 1969), 4. 34. Van Wyck Brooks, America’s Coming-of-Age (New York: B. W. Huebsch, 1915), 4–7, 11.

"Terrible Honesty" is a portrait of the soul of a generation, the story of the men and women who made New York the capital of American literature, music, and language in the 1920s. Ann Douglas's magnificent account of "mongrel Manhattan" focuses especially on brilliant and diverse artists - F. Scott Fitzgerald, Dorothy Parker, Eugene O'Neill, Walter Winchell, Ernest Hemingway and Irving Berlin among them - and on those who influenced them most strongly, the powerful figures of Sigmund Freud, William James and Gertrude Stein. Ann Douglas argues that when, after World War I, the United States began to assume the economic and political leadership of the West, American artists and thinkers determined to break with what they saw as the false and derivative cultural tradition of Europe and the past. New York became the heart of that daring and accomplished historical transformation when blacks and whites, men and women together created the new American culture.

Very detailed analysis of the time period
What can I say--this is the kind of history writing that leaves you in awe of the scholarship and artistry behind it. The range and depth of topics and personae covered is remarkable--and at all times it remains a wonderfully enjoyable read.
Loved it.
Very Old Chap
This book is close to horrible. The book says it is about Manhattan in the 1920s (or at least the subheading suggests this) but the book instead meanders through various issues that are slightly related to the 1920s and even more slightly related to manhattan. In almost 600 pages, the author does little more than confuse her reader. She talks about Freud, Hemingway, Stein, Crane, Jung, and numerous others, but your powers of reasoning really have to be used to figure out how these characters have any relevance to her supposed theme of Manhattan in the 1920s. She seems to have gotten lost in her own thoughts for the better part of the book. I'm sure there are some important points in this book, but it needs some major editing or to be broken into volumes.
The book was assigned for a proseminar class on United States history of the 1920s-1930s at a state university history department. It is not a history book but one written by a scholar of comparative literature and English literature. It is about the intellectual life and arts of New York city, especially Manhattan. The author concentrates on the African-American intellectuals and artists, but often goes into her own weird theories. The book is long-winded, highly repetitious, an oddball book that turns out to be more about Freud and African-American culture than New York City. It is stuffed to exasperation with psychoanalytic literary theory, postmodernist theory, African-American propaganda clothed as history and a good example of what infuriate the right-wing in this country about the intellectual elite: too much about minorities (blacks, homosexuals, women) and too much about the art crowd. Nothing about normal people. The author obsesses about Freud and more Freud and at the same time proclaiming how much she hates him. Unfortunately, she has bought into Freud's own obsessions and looks for sex in everyone and everything. She repetitiously points out so-and-so was a homosexual. It is literary criticism gone unhinged and unedited. For about 600 pages she can't stop writing about her bizarre theories about the Matriarch, the Titaness, and matricidal culture. This is what happens when an author mixes feminist theory, ethnic studies theories, psychoanalysis, and literary criticism with history. The professor who assigned the book to the class himself found the book exasperating and in desperate need of editing. Every one in the proseminar yelled about this book and not in a good way.
While probably praised by the politically correct ethnic studies intellectuals and feminist scholars as brilliant, I consider it to be a crackpot book, no more valid than, say, H.P. Blavatsky's theosophy tomes. Terrible Honesty led to arguments in the class. I stated I hated Freud, while another student said you cannot hate Freud, as if it wasn't allowed. I hated ideology being handed down as gospel truth, whatever it is. Terrible Honesty has a self-righteous tone of being gospel, when it is nothing of the kind.
This book is a waste of money. I received it as a gift so I couldn't return it. It is full of historical mistakes and careless errors. It is not worth taking the time to point them out.
FAbulous book. A must-read for history buffs.