During the height of 19th century imperialism, Rudyard Kipling published his famous poem “The White Man’s Burden.” While some of his American readers argued that the poem served as justification for imperialist practices, others saw Kipling’s satirical talents at work and read it as condemnation. Gretchen Murphy explores this tension embedded in the notion of the white man’s burden to create a new historical frame for understanding race and literature in America. Shadowing the White Man’s Burden maintains that literature symptomized and channeled anxiety about the racial components of the U.S. world mission, while also providing a potentially powerful medium for multiethnic authors interested in redrawing global color lines. Through a range of archival materials from literary reviews to diplomatic records to ethnological treatises, Murphy identifies a common theme in the writings of African-, Asian- and Native-American authors who exploited anxiety about race and national identity through narratives about a multiracial U.S. empire. Shadowing the White Man’s Burden situates American literature in the context of broader race relations, and provides a compelling analysis of the way in which literature came to define and shape racial attitudes for the next century.
From one of the world’s best-known development economists—an excoriating attack on the tragic hubris of the West’s efforts to improve the lot of the so-called developing world. "Brilliant at diagnosing the failings of Western intervention in the Third World." —BusinessWeek In his previous book, The Elusive Quest for Growth, William Easterly criticized the utter ineffectiveness of Western organizations to mitigate global poverty, and he was promptly fired by his then-employer, the World Bank. The White Man’s Burden is his widely anticipated counterpunch—a brilliant and blistering indictment of the West’s economic policies for the world’s poor. Sometimes angry, sometimes irreverent, but always clear-eyed and rigorous, Easterly argues that we in the West need to face our own history of ineptitude and draw the proper conclusions, especially at a time when the question of our ability to transplant Western institutions has become one of the most pressing issues we face.
Demonstrates the extent to which Josiah Royces ideas about race were motivated explicitly in terms of imperial conquest. Another white Mans Burden performs a case study of Josiah Royces philosophy of racial difference. In an effort to lay bare the ethnological racial heritage of American philosophy, Tommy J. Curry challenges the common notion that the cultural racism of the twentieth century was more progressive and less racist than the biological determinism of the 1800s. Like many white thinkers of his time, Royce believed in the superiority of the white races. Unlike today however, whiteness did not represent only one racial designation but many. Contrary to the view of the British-born Germanophile philosopher Houston S. Chamberlain, for example, who insisted upon the superiority of the Teutonic races, Royce believed it was the Anglo-Saxon lineage that possessed the key to Western civilization. It was the birthright of white America, he believed, to join the imperial ventures of Britainto take up the white mans burden. To this end he advocated the domestic colonization of Blacks in the American South, suggested that Americas xenophobia was natural and necessary to protecting the culture of white America, and demanded the assimilation and elimination of cultural difference for the stability of Americas communities. Another white Mans Burden reminds philosophers that racism has been part of the building blocks of American thought for centuries, and that this must be recognized and addressed in order for its proclamations of democracy, community, and social problems to have real meaning. Curry has paid attention to the odd and icky bits of Royce, tracking down the offhand cultural references, the unfamiliar names, and historical contexts. A solid analysis of early twentieth-century conceptions of race and colonialism reveals an unseemly picture before our contemporary eyes. Curry is right; we shouldnt ignore or soft-pedal this. Lee A. McBride III, the College of Wooster
The white man's burden, darkest Africa, the seduction of the primitive: such phrases were widespread in the language Western empires used to talk about their colonial enterprises. How this language itself served imperial purposes--and how it survives today in writing about the Third World--are the subject of David Spurr's book, a revealing account of the rhetorical strategies that have defined Western thinking about the non-Western world.Despite historical differences among British, French, and American versions of colonialism, their rhetoric had much in common. The Rhetoric of Empire identifies these shared features--images, figures of speech, and characteristic lines of argument--and explores them in a wide variety of sources. A former correspondent for the United Press International, the author is equally at home with journalism or critical theory, travel writing or official documents, and his discussion is remarkably comprehensive. Ranging from T. E. Lawrence and Isak Dineson to Hemingway and Naipaul, from Time and the New Yorker to the National Geographic and Le Monde, from journalists such as Didion and Sontag to colonial administrators such as Frederick Lugard and Albert Sarraut, this analysis suggests the degree to which certain rhetorical tactics penetrate the popular as well as official colonial and postcolonial discourse.Finally, Spurr considers the question: Can the language itself--and with it, Western forms of interpretation--be freed of the exercise of colonial power? This ambitious book is an answer of sorts. By exposing the rhetoric of empire, Spurr begins to loosen its hold over discourse about--and between--different cultures.
Unlike many cities farther north, Kansas City, Missouri-along with its sister city in Kansas-had a significant African American population by the midnineteenth century and also served as a way station for those migrating north or west. "Take Up the Black Man's Burden" focuses on the people and institutions that shaped the city's black communities from the end of the Civil War until the outbreak of World War II, blending rich historical research with first-person accounts that allow participants in this historical drama to tell their own stories of struggle and accomplishment. Charles E. Coulter opens up the world of the African American community in its formative years, making creative use of such sources as census data, black newspapers, and Urban League records. His account covers social interaction, employment, cultural institutions, housing, and everyday lives within the context of Kansas City's overall development, placing a special emphasis on the years 1919 to 1939 to probe the harsh reality of the Depression for Kansas City blacks-a time when many of the community's major players also rose to prominence. "Take Up the Black Man's Burden" is a rich testament not only of high-profile individuals such as publisher Chester A. Franklin, activists Ida M. Becks and Josephine Silone Yates, and state legislator L. Amasa Knox but also of ordinary laborers in the stockyards, domestics in white homes, and railroad porters. It tells how various elements of the population worked together to build schools, churches, social clubs, hospitals, the Paseo YMCA/YWCA, and other institutions that made African American life richer. It also documents the place of jazz and baseball, for which the community was so well known, as well as movie houses, amusement parks, and other forms of leisure. While recognizing that segregation and discrimination shaped their reality, Coulter moves beyond race relations to emphasize the enabling aspects of African Americans' lives and show how people defined and created their world. As the first extensive treatment of black history in Kansas City, "Take Up the Black Man's Burden" is an exceptional account of minority achievement in America's crossroads. By showing how African Americans saw themselves in their own world, it gives readers a genuine feel for the richness of black life during the interwar years of the twentieth century.