By Erin Royston Battat

such a lot scholarship at the mass migrations of African american citizens and southern whites in the course of and after the nice melancholy treats these migrations as separate phenomena, strictly divided alongside racial strains. during this attractive interdisciplinary paintings, Erin Royston Battat argues as a substitute that we must always comprehend those Depression-era migrations as interconnected responses to the capitalist cave in and political upheavals of the early 20th century. in the course of the Nineteen Thirties and Forties, Battat exhibits, writers and artists of either races created migration tales in particular to reinforce the black-white Left alliance. Defying inflexible severe different types, Battat considers a large choice of media, together with literary classics through John Steinbeck and Ann Petry, "lost" novels by means of Sanora Babb and William Attaway, hobo novellas, photos of migrant girls by means of Dorothea Lange and Elizabeth Catlett, renowned songs, and histories and ethnographies of migrant shipyard staff.

This vivid rereading and recuperating of the period's literary and visible tradition expands our figuring out of the migration narrative by way of uniting the political and aesthetic ambitions of the black and white literary Left and illuminating the outstanding interrelationship among American populism and civil rights.

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Ain’t Got No Home: America's Great Migrations and the Making of an Interracial Left by Erin Royston Battat


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