By Robert Crunden
During this e-book Robert Crunden places the "jazz" again within the Jazz Age. Jazz was once America's maximum contribution to the Modernist move, but it's a lot missed. once we pay attention the time period "Jazz Age," we conjure the ghosts of Fitzgerald, Hemingway, and Eliot, no longer Jelly Roll Morton, Louis Armstrong, Ethel Waters, George Gershwin, and Duke Ellington. with a purpose to right this imbalance, Crunden re-introduces us to those musical luminaries who gave the period its identify as he strains the early historical past of jazz from New Orleans to Chicago to ny. whereas Crunden emphasizes song over literature and the visible arts, he by no means fails to map the complicated cross-currents of literature that handed among jazz musicians and their "Lost iteration" friends, a veritable festival of the glittering personalities of the day-James Joyce, Alfred Stieglitz, Georgia O'Keeffe, Paul Strand, John Dos Passos, Langston Hughes, Gertrude Stein.
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Extra info for Body And Soul: The Making Of American Modernism
His wide reading in European psychological thinkers, and his obsession with mystical religious visions, vitiated what talent he had. He was also egotistical and humorless, filling his letters even to such close friends as Stieglitz with whining complaints about the lack of response to his work. He feared that such friends as Rosenfeld would turn on him, meaning that they would not assess his work or his wisdom at the unrealistic level he preferred. 30 Rosenfeld often mentioned Frank and his wife, educational reformer Margaret Naumburg, in his letters.
A few days later, Hartley himself dropped by with three canvases from a recent trip to New Mexico, although only one seemed complete. Rosenfeld's feelings were "violently discordant. " He was full of admiration, knew the one unnamed painting that he had commissioned to be "superb and unique," but was not sure whether he could "manage to live with it. " Evelyn Scott had nicknamed Hartley "the monk of fear," and Rosenfeld dreaded the thought of having the work in his home. He had promised five hundred dollars for it, and Hartley needed the money.
Rosenfeld brooded about him and his work, feeling obligated to write reviews yet skeptical in his judgments. He procrastinated. "My mind is still chaotic with Waldo. I haven't found my way out yet, although I am beginning to hope," he wrote Stieglitz in the fall of 1920. "I am very sorry things will become strained between us—I am very fond of him, and want very much to see him. It is very bitter that I have to speak my mind. " A few days later, he spent "a good, full day with them. " To give credit where it was sometimes due, Frank responded well and "seemed relieved that I was to do a review.