PDF Download The Origins of Cool in Postwar America, by Joel Dinerstein

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The Origins of Cool in Postwar America, by Joel Dinerstein

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Review

“In his entertaining book, . . . Dinerstein shows that cool isn’t just a style, it’s an ‘embodied philosophy’ that is anchored in a specific generational circumstance. Cool was first of all a form of resistance and rebellion, a rejection of the innocence, optimism and consumer cheeriness that marked the mainstream postwar experience.” (David Brooks New York Times)“These divisions, between white and black, Europe and America, individual and society, run through the history of cool and explain the different forms it takes and how these have evolved. . . . The history of post-war cool is both a history of these strange convergence—between French intellectuals, African American musicians and white working-class Hollywood heroes—and of the continuing conflicts between and within them. The real subject of Dinerstein’s book is the debt that American culture owes to black art and style, and the way white America has responded to that debt.” (Benjamin Markovits Times Literary Supplement 2017-07-18)“Dinerstein beautifully demonstrates in this superb book . . . that cool was ‘an emergent structure of feeling in postwar America.’ . . . What made cool cool is the braiding together of jazz, film noir, and existential literature; the first as an African American mask of cool (poise, virtuosity and ‘a blank facial wall, suggesting both a resistance to white social norms and an inner complexity’); the second, a delayed working-class response to the Great Depression (gritty but righteous loners in an unjust world); the third, an ethical expression of ‘rebellion-for-others’ in 1945, ‘year zero’ Europe after collaboration, genocide and atomic destruction.” (Times Higher Education)“Rigorously academic, The Origins of Cool is nonetheless the kind of book that makes learning enjoyable. Afterward, you’ll know a lot more about the world today and where it came from. But if you’re cool, you’ll pretend you don’t.” (Wall Street Journal 2017-06-01)“Dinerstein traces the trajectory of the notion of American cool through the cultural milieu of the 1920s through the early 1960s, emphasizing its deep associations with jazz culture. . . . Impressively researched and broad in its reach, drawing from film, music, theater, philosophy, and literature, this book approaches the subject with scholarly authority while remaining eminently readable. Much more than just a history of cool, this book is a studied examination of the very real, often problematic social issues that popular culture responds to.” (Publishers Weekly, starred review)“The Origins of Cool vibrates with the energy of its very subject—as restrained, composed, and revitalized as the postwar rebel himself.  From the cafes of the existentialists to the bars of film noir, from Lester Young’s sax to Elvis’s pout, Dinerstein offers a brilliant exegesis of the simmering mode of resistance we call cool. He penetrates the meanings of a misunderstood mode—a concept, a mood, a posture—while connecting the rich details of art and culture to the deepest transformations of the postwar world. The Origins of Cool takes the elusive and inchoate and renders them clear and nearly tangible, making the reader feel this mysterious current of postwar culture as if for the first time. This is a masterwork.” (Jefferson Cowie, author of Stayin’ Alive: The 1970s and the Last Days of the Working Class)“Dinerstein maps out a grand unified theory of 'cool,' as the concept that came to define the postwar era.” (New York Times Book Review 2017-06-01)“Dinerstein approaches the notion of coolness as a theorist, historian and lover of popular culture to produce a book that synthesizes the best of all three domains. Our interpretation of cool may be emptying out, may be changing with each new generation’s cultural output, but a close examination of the roots of coolness shows that as a fundamental way of being in the world, little about cool has changed.” (PopMatters 2017-06-01)“Dinerstein has written a thoughtful and entertaining account of cool—the most powerful image of how one should be since the English gentleman dominated the world. It's a history, a handbook, and a manual, filled with fascinating accounts of those stellar individuals whose aggressively haughty, patrician coldness was rooted in hip opposition and revolt.” (John Szwed, author of Billie Holiday: The Musician and the Myth)“The Origins of Cool in Postwar America will be the standard reference for those who wish to understand the deep historical roots for coolness as a cultural style and ethos—a ‘public mode of covert resistance,’ an expression of faith in the integrity and agency of the individual in the face of depression, war, occupation, segregation, and the threat of nuclear annihilation—rather than as a trendy pose or an emblem of hip consumerism. Dinerstein has achieved something like a unified field theory of the postwar American arts combined with a history of ideas attached to the quest for ethical renewal and existential affirmation.” (John Gennari, author of Blowin' Hot and Cool: Jazz and Its Critics)

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About the Author

Joel Dinerstein was the curator of American Cool, an acclaimed exhibit at the Smithsonian’s National Portrait Gallery, and the author of its accompanying catalog. He is also the author of the award-winning Swinging the Machine: Modernity, Technology, and African-American Culture and Coach: A History of New York Cool. He is a cultural historian and professor of English at Tulane University.

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Product details

Hardcover: 541 pages

Publisher: University of Chicago Press; 1 edition (May 17, 2017)

Language: English

ISBN-10: 0226152650

ISBN-13: 978-0226152653

Product Dimensions:

6 x 1.8 x 9 inches

Shipping Weight: 2.2 pounds (View shipping rates and policies)

Average Customer Review:

4.3 out of 5 stars

13 customer reviews

Amazon Best Sellers Rank:

#142,722 in Books (See Top 100 in Books)

This is one of the deepest and finest American cultural histories I have ever read. Dinerstein has mastered his subjects -- jazz, literature, film, politics. He weaves these subjects together like a master. I can't recommend this book more highly. You will learn a tremendous amount about this country by reading The Origins of Cool in Postwar America.

I am using my real name as author of this review in case anyone wants to question my musical background. What is particularly amazing to me about “The Origins of Cool in Postwar America” is that it is a major academic work, extensively researched and rigorously annotated, yet not written in “academese,” but in a clear and often compelling style easily understandable to those of us without Pd.D.s Dinerstein locates the birth of cool with the style of the great jazz saxophonist Lester Young. Young was subject to horrific racism during his time in the Army during World War II. He had already developed a signature style before then: a vibrato-less sound (unusual for big band saxophonists of that time) as well as an amazing use of pause and even silence during his solos. However, after WWII, in response to the oppression he was subjected to, he developed a calm, relaxed performance style very unlike the “hot” big band soloists of his day, which Lester and his friends labelled as “cool.” Dinerstein then documents the roots of this style in West African musical practice as well as the survival strategy of house slaves in the antebellum south. This style had an immediate influence on his jazz colleagues. In subsequent chapters of the book, Dinerstein documents the profound influence this style of jazz had on international culture, including literature, philosophy, film and theater. My personal favorite is Allen Ginsburg’s admission that “’Howl’ is all “Lester Leaps In.’” Then, in the pivotal later chapter on Miles Davis and Sonny Rollins, Dinerstein has the chutzpah to ask the question: given the obvious influence that the “cool” style in jazz had in the world, why isn’t it recognized as such? The answer, which even non-black academics shy away from, despite academia being one of the last bastions of radical liberalism, is of course: racism. In the interest of full disclosure, I am a friend of Joel’s. However, even if I weren’t, I would still highly recommend this book not only for jazz lovers, but for anyone interested in a keen insight into the nature of American society.

I have to agree with the reader who compared the text to the writing of a dissertation. Origins is interesting in spots (especially when the subject is jazz) and pretty long-winded and slightly boring in others (I found some of the discussions about film quite boring). At best, I think Origins is an uneven treatment of an interesting subject. Perhaps a little too much info for me.

I enjoyed this fairly well written and edited book because I am very interested in the period and individuals covered. The author makes a number of interesting points, although sometimes at too great a length and with too much repetition. I appreciated the many excellent recommendations for period music, films and books. That said, however, I don't have enormous trust in someone who thinks Dave Brubeck is a saxophone player (as mentioned in the notes section), although perhaps (and hopefully) this was an error by a research assistant or editor.

Anyone interested in the history of jazz, film noir, or existential philosophy in the middle of the 20th century would find this book fascinating. The author is extremely knowledgeable and imaginative, and the result is one fascinating insight after the next. The prose is also highly accessible. One of the best books I have read in a number of years (and I read a lot).

Well written and extremely detailed in its references. After finishing this, I felt, that as a white guy, I am not cool. But I loved reading about the relationship of "cool" to noir movies, be bop and Brando and Dean. I also learned of a 50's writer named Hansberry, which I will pursue to find more about.

An absolute Winner, if you are a fan of jazz, film noir, existential philosophy and have an overall cool sensibility.

A bit of history, culture of the times, jazz & film noir - a good title for a comprehensive view of all things 'cool'.

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