The "Trial" of Lee Benson: Communism, White Chauvinism, and The Foundations of the "New Political History" in the United States

Lee Benson was one of the first American political historians to suggest a “systematic” revision of traditional political history with its emphasis on narrow economic class analysis, narrative arguments, and over‐reliance on qualitative research methodologies. This essay presents Benson's contributions to the “new political history”—an attempt to apply social‐science methods, concepts, and theories to American political history—as a social, cultural, and political narrative of Cold War‐era American history. Benson belonged to a generation of ex‐Communist American historians and political scientists whose scholarship and intellectual projects flowed—in part—out of Marxist social and political debates, agendas, and paradigmatic frameworks, even as they rejected and revised them. The main focus of the essay is the genesis of Benson's pioneering study of nineteenth‐century New York state political culture, The Concept of Jacksonian Democracy, with its emphasis on intra‐class versus inter‐class conflict, sensitivity to ethnocultural determinants of political and social behavior, and reliance on explicit social‐science theory and methodology. In what follows, I argue that The Concept of Jacksonian Democracy has its roots in Benson's Popular Front Marxist beliefs, and his decade‐long engagement and subsequent disenchantment with American left‐wing politics. Benson's growing alienation from Progressive historical paradigms and traditional Marxist analysis, and his attempts to formulate a neo‐Marxism attentive to unique American class and political realities, are linked to his involvement with 1940s radical factional politics and his disturbing encounter with internal Communist party racial and ideological tensions in the late 1940s at Cornell University in Ithaca, New York.     

Art as research: an interview with Liliane Lijn by Barry Miles

ABSTRACT

In conversation with the biographer and author Barry Miles, the artist and poet Liliane Lijn talks about her early influences as a young American artist living and working in Paris, Athens and New York and the development of her practice between 1959 and 1970. She recalls her encounters with prominent surrealists, poets and artists of the Beat generation: André Breton, William Burroughs, Gregory Corso, and her enduring friendship with Greek sculptor Takis. Inspired by the experimental nature of their works, Lijn explains how her own work focused on research and invention. She describes her Poem Machines as ‘seeing sound’ and explains her growing interest in science and, in particular, light. Lijn details the long and complex gestation of Liquid Reflections, her most well-known cosmic work of the late 1960s, and how working with industry and technology allowed her to increase both the scale and complexity of her oeuvre.     

Disparity Despite Diversity: Social Injustice in New York City's Urban Agriculture System

Many studies have documented the benefits of urban agriculture, including increased food access, job creation, educational opportunities, and green space. A focus on its social benefits has fed an association of urban agriculture with social justice, yet there is a distinction between alleviating symptoms of injustice (such as disparate access to food or environmental amenities) and disrupting structures that underlie them. Despite its positive impacts, urban agriculture systems may reinforce inequities that practitioners and supporters aim to address. This paper reports findings from a 2‐year study of urban agriculture in New York City, which found race‐ and class‐based disparities among practitioners citywide. Using the lens of critical race theory, it argues that a failure to examine urban agriculture's role in either supporting or dismantling unjust structures may perpetuate an inequitable system. The paper concludes with recommendations for urban agriculture supporters and scholars to help advance social justice at structural levels.