Download They Called Themselves the K.K.K.: The Birth of an American by Susan Campbell Bartoletti PDF

By Susan Campbell Bartoletti

Boys, allow us to wake up a club.With these phrases, six stressed younger males raided the linens at a friend’s mansion, pulled pillowcases over their heads, hopped on horses, and cavorted in the course of the streets of Pulaski, Tennessee in 1866. The six neighbors named their membership the Ku Klux Klan, and, all too speedy, their membership grew into the self-proclaimed Invisible Empire with mystery dens unfold around the South.This is the tale of ways a mystery terrorist team took root in America’s democracy. choked with chilling and vibrant own bills unearthed from oral histories, congressional records, and diaries, this account from Newbery Honor-winning writer Susan Campbell Bartoletti is a e-book to learn and consider. A YALSA Award for Excellence in Nonfiction for teenagers Finalist.

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Extra info for They Called Themselves the K.K.K.: The Birth of an American Terrorist Group

Example text

But for others, history hardly mattered. S. entered the conflict) as beyond the struggles of the Old World. In the rising global capital of New York, as elsewhere around the world, it was possible to see America as nothing less than the home of the future: an amalgamation of races and nationalities living in a mechanized paradise of automobiles, airplanes, electricity, motion pictures, and stock ticker tape. And yet, even for writers who celebrated this sleek, mechanized America (for example, Dos Passos in Manhattan Transfer, 1925), there is also a strong critical awareness of the alienation of modern society and the degradation of modern mass culture.

Rodgers writes that the Harlem Renaissance novels, Jessie Fauset’s There is Confusion (1924), Claude McKay’s Home to Harlem (1928), Rudolph Fisher’s Walls of Jericho (1928), and Wallace Thurman’s Infants of the Spring (1932), are devoted to “bringing to life the hum and buzz of Harlem’s spirited, almost-human personality” (Rodgers: 78). Fisher’s and Thurman’s texts are amusing satires of Harlem’s emerging black bourgeoisie, and Thurman works in a subplot devoted to satirizing central figures of the Renaissance, including himself.

Important works of the period portray the perspective of a young immigrant child (Henry Roth’s Call it Sleep, 1934), a baby (William Carlos Williams’s White Mule, 1937), the insane and socially outcast (Djuna Barnes, Nightwood, 1936), and historical figures like the Viking explorer, Eric the Red (Williams, In the American Grain, 1925). William Faulkner frequently structured his narratives as composites of the perspectives of multiple characters. In As I Lay Dying (1930), the story of the death and burial of Addie Bundren is related from the limited first-person perspective of fifteen different characters.

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