Bernard Malamud, Saul Bellow, Philip Roth, and their critics embraced the notion that their work displayed an affinity to Russian and Yiddish literature, especially to the work of Fyodor Dostoevsky, Nikolai Gogol, and Sholem Aleichem. Like these writers, the prominent American Jewish writers of the 1960s were understood as producing writing that emerged from their authentic, often negative emotions, work that voiced complaints. I first describe this generation's playful claiming of a Russian and Jewish genealogy, their definition of the Russian and Yiddish writers as a collective worthy of copying. I then use close readings of six passages to evaluate the American writers' assertions about their influence by the Russian and Yiddish ones. I compare the inset oral and written complaints in Roth and Bellow with those in Gogol, Dostoevsky, and Sholem Aleichem, both acknowledging their striking formal similarities and distinguishing the comic, satirically presented literary complaints of prerevolutionary Russia from the potentially more therapeutically oriented—albeit still satirical—literary complaints of postwar America. Finally, I look outside the literary texts to understand why it was appealing to 1960s American writers to think of themselves as influenced by prerevolutionary Russian and Yiddish verbal art. This article situates the American Jewish writers and their critics in an aural environment where Russian and Yiddish sounds were increasingly available in entertainment and where they were associated with authenticity and political opposition. In spite of the formal parallels among the American Jewish, Russian, and Yiddish literary complaints, and in spite of Roth and Bellow representing themselves compellingly as imitators, I argue that they need to be understood instead in their own national and temporal communicative context.

In Orhan Pamuk’s brilliant novel about seeing and beauty, My Name Is Red, miniaturists at the Sultan’s court exemplify historical tensions in 16th-century Ottoman artistic culture. They deplore the “Frankish” style of painting as a “temptation of Satan”: portraiture was “a sin of desire, like growing arrogant before God, like considering oneself of utmost importance, like situating oneself at the center of the world”; true perspective “removes the painting from God’s perspective and lowers it to the level of a street dog.” In their view, “painting is the act of seeking out Allah’s memories and seeing the world as He sees the world.” Murders ensue among miniaturists corrupted by the Western desire to develop their own “style.”

Word embeddings are a powerful machine-learning framework that represents each English word by a vector. The geometric relationship between these vectors captures meaningful semantic relationships between the corresponding words. In this paper, we develop a framework to demonstrate how the temporal dynamics of the embedding helps to quantify changes in stereotypes and attitudes toward women and ethnic minorities in the 20th and 21st centuries in the United States. We integrate word embed- dings trained on 100 y of text data with the US Census to show that changes in the embedding track closely with demographic and occupation shifts over time. The embedding captures societal shifts—e.g., the women’s movement in the 1960s and Asian immi- gration into the United States—and also illuminates how specific adjectives and occupations became more closely associated with certain populations over time. Our framework for temporal anal- ysis of word embedding opens up a fruitful intersection between machine learning and quantitative social science.

We have long understood the Industrial Revolution as a triumphant story of innovation and technology. Empire of Guns, a rich and ambitious new book by award-winning historian Priya Satia, upends this conventional wisdom by placing war and Britain's prosperous gun trade at the heart of the Industrial Revolution and the state's imperial expansion.

Satia brings to life this bustling industrial society with the story of a scandal: Samuel Galton of Birmingham, one of Britain's most prominent gunmakers, has been condemned by his fellow Quakers, who argue that his profession violates the society's pacifist principles. In his fervent self-defense, Galton argues that the state's heavy reliance on industry for all of its war needs means that every member of the British industrial economy is implicated in Britain's near-constant state of war.

Empire of Guns uses the story of Galton and the gun trade, from Birmingham to the outermost edges of the British empire, to illuminate the nation's emergence as a global superpower, the roots of the state's role in economic development, and the origins of our era's debates about gun control and the "military-industrial complex" -- that thorny partnership of government, the economy, and the military. Through Satia's eyes, we acquire a radically new understanding of this critical historical moment and all that followed from it.

Sweeping in its scope and entirely original in its approach, Empire of Guns is a masterful new work of history -- a rigorous historical argument with a human story at its heart.