In this article I argue that scholars have been insufficiently attentive to Frederick Douglass's engagement with American cities, particularly Washington, DC. I show that Frederick Douglass's 1877 speech “Our National Capital” should not be relegated, as it usually is, to an autobiographical footnote, but is in fact an important document both in Douglass's philosophy and in the history of Washington, DC. This essay places that speech in both of those traditions. First, I give a brief account of Pierre L'Enfant's late eighteenth-century plans for Washington, DC as a cosmopolitan and regionally inclusive place, then use several figures, including Charles Dickens and Eastman Johnson, to show that actually existing DC failed to meet those ideals. The bulk of the essay then shows that Douglass's speech has great affinities with L'Enfant's original ideas, with Douglass adding the crucially important category of race to L'Enfant's vision for the city. I also use a number of Douglass's other writings, including speeches, essays, and autobiographies, to show that “Our National Capital” can serve as a capstone for Douglass's career, in which he articulates how an urban environment should function if it is to live up to his ideals.

This article argues that the imagery that American policymakers deployed to represent poverty as a social problem in the United States in the 1960s was rooted in the conceptual vocabulary that had emerged to describe “underdevelopment” in Third World in the years after 1945. Relying upon a close reading of still and moving images produced and distributed under the auspices of the American state in the mid-1960s – including the Academy Award®-winning documentary, A Year Towards Tomorrow – this article explores the ways influential American liberals represented poverty as an explicitly global social problem demanding the intervention of middle-class “agents of change.” This moment in the history of poverty fighting marks the origins of the concept of “global poverty.”

This essay surveys George W. Bush's public statements from 1993 to 2001 to examine the evolution of his religious and political rhetoric. Bush's personal religiosity and his use of religious rhetoric during his campaigns for the presidency and in his two terms in office have received extensive comment from the press as well as from scholars. Yet very little scholarly work has considered the role of religion in his earlier political career. Although Bush had evinced a deep and genuine evangelical faith for years before he launched his bid for the governorship, he did not begin his political career as an overtly Christian leader. Instead, over the course of his governorship, he gradually incorporated Christian tropes in his speeches to develop, explain, and gain support for his “compassionate conservative” policies and to build rapport with voters.

Since its 1953 publication, John Berryman's Homage to Mistress Bradstreet has incited debate. The text's dialogue with the first published poet of colonial North America has been described as a factual study, a redaction of adultery and a veiled critique of modern society. It is seldom noted, however, that Berryman's strategy of “modulat[ing]” his voice into Anne Bradstreet's raises key questions regarding his reappropriation of her life and writing. Does Homage's conscious ventriloquism problematize its status as a “historical” poem? And how might this revised understanding illuminate the work's relation to America's origins? This paper proposes a more multifaceted context for Homage's composition than has hitherto been recognized. Through mapping the poem's rewriting of history, I demonstrate it to be the product of both national and literary anxieties: if voicing Bradstreet enables Berryman to interrogate the American Dream's legacy, her canonical status casts scrutiny upon the contemporary poet's role in an age of sociopolitical tensions. Foregrounding Berryman's public self-positioning in Homage invites a reassessment of his engagements with society that liberates his oeuvre from “confessional” designations. As a result, it opens the way for readings that might situate Homage and The Dream Songs within the wider tradition of American epic poetry.

No land artist of the 1960s was more influential at the time than Robert Smithson. If anything, earthworks such as the Spiral Jetty and essays such as “Frederick Law Olmsted and the Dialectical Landscape” have only added to his importance over the years. One of the reasons Smithson still seems so relevant is that his work responded so directly to a nostalgic trend that arose in both American studies and American environmentalism during the 1950s and 1960s. On the whole, it was a nostalgia for nineteenth-century pastoralism, but it also led to a revival of interest in such figures as Thomas Cole, Timothy O'Sullivan, and Olmsted himself. To counteract this elegiac tendency Smithson developed a “toxic discourse” in which he treated the nineteenth-century landscape as a totally engineered prototype for the twentieth. The first fully formed expression of this toxic discourse was an essay he published in 1967, “A Tour of the Monuments of Passaic, New Jersey.” It was there that Smithson began to elaborate an aesthetic that treated the open-pit mine, the suburb, and the desert as mirror images of each other.

In this essay, I examine the hyper-modern apparition with which Don DeLillo concludes Underworld alongside a “real-life” image, said to look like the Virgin Mary, which appeared in April 2005 in Chicago on the wall of a highway underpass. I argue that discussing these two apparitions together highlights how both images transform urban surfaces and waste, creating new sites around which collectivities take shape. The pairing also illustrates the mode of perception that the apparitions engender, one that makes urban realities of class dispossession and minority displacement visible. Drawing upon Walter Benjamin's notion of the wish image and Merleau-Ponty's concept of “perceptual faith,” I argue that these apparitions evoke the otherworldly but ultimately insist upon the material dimensions of urban life.