{'fraction_non_alphanumeric': 0.028220451527224435, 'fraction_numerical': 0.010956175298804782, 'mean_word_length': 5.212371134020619, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Western Anti-Communism and the Interdoc Network: Cold War Internationale

cultivate a uniquely Iranian legacy. This essay is paired with Neil Larsen’s 1992 essay in which, despite noting that many novelists retreated from a revolutionary aesthetics after initially endorsing the Cuban Revolution, he finds that the “boom” novels, especially Jorge Amado’s Gabriela, enact a critical link between Cold War dichotomous thinking and postmodernism. Additional essays in this volume include Jane Plastow’s study of emergent and competing nationalisms in dramatic writing in Ethiopia; David Robb’s case for the prevailing theme of dissidence in political songs in both East Germany and West Germany in the 1960s and 1970s; and Lingzhen Wang’s revealing account of how autobiographical writings by Chinese women in the years after Mao Zedong’s death were often censored for supporting women’s rights, even when they were not antistate, suggesting that patriarchal ideology prevailed over Communism (which, after all, celebrates women as equal partners). In the closing essays, returning to the search for the “third way” out of Cold War Manichaeism, Jamie Andrews examines how French playwrights in the 1950s drew on the classical technique of structuring plays around a single “moral” to assert a distinctly French aesthetic as a “third force” to reject both U.S. and socialist thinking, not only as a “way of navigating the abstractions of Cold War realities” (p. 194) but, more significant, to assert French identity. Marcel Cornis-Pope, as in volume one, ranges freely across East-European literatures (including theoretical texts) to find telling signs of their postmodernism, evident both in conventional genres and in “cross-cultural and transitional forms” (p. 208) that reject the rival Cold War ideologies in order to express a more variegated yet egalitarian vision of a region populated by a wide array of ethnicities. Especially noteworthy to Cornis-Pope about this evolving aesthetic is how, after 1989 and the apparent dissolution of the East-West gridlock, the “hybridized identities and literary forms” (p. 210) of EastCentral European writing have nonetheless been marshaled again in confronting the reemergence of nationalism and exaggerated ethnic pride after Communism. In The Fate of the Earth (1982), Jonathan Schell posed how living in a world whose future is in jeopardy brings into question the very purpose of any art that means to gesture to the future. He was right, to the extent that the treacherous conditions of the Cold War undermined traditional prospects of a cultural legacy. Yet, despite nuclear, political, and environmental conditions that remain a threat, the world so far survives. These two books begin to chart, in the realm of literature, what that future now constitutes, and they make great strides in measuring what the Cold War has imparted, as the polarized rhetoric of the era recedes and a more accurate accounting of the diversity of global cultures comes into focus.