The best books on Black Americans and the Roosevelt era

Shifting away from the grassroots origins of modern conservatism, Invisible Hands examines how wealthy, conservative businessmen mobilized to counter the power of organized labor, dismantle the New Deal, and propel the right into political power. Phillips-Fein begins her story in the Depression, as a small set of disgruntled industrialists organized against what they saw as creeping socialism, embodied in FDR’s New Deal. Although marginal at first, these titans of capitalism spent great effort and tremendous sums of money to change the tone and tenor of American politics, convincing many Americans to abandon the promises of economic security for the supposed beneficence of the free market.

Several books focused on the Works Progress Administration (WPA), or discreet parts of it, had been published before Borchert’s was released but this is the best of them. I doubt that any other book will ever tell the story of the Federal Writers’ Project (FWP) quite so well. On one level, it lays out the project’s scope and walks readers through the politics involved with its creation and continued operation. And on another, it explains what the project meant for the writers it employed and how it influenced their work. Every other book on this list was written by an author employed by the project or another part of the WPA; this book will help you understand them as part of a coherent literary moment in American history.     

This is a scholarly work, but don’t let the unassuming title fool you: Stott’s writing is crisp, elegant, and highly readable, and his insights are crucial to any understanding of the New Deal’s place in American culture. He covers the Roosevelt administration’s cultural undertakings—from the WPA projects to Farm Security Administration photographers to FDR’s own political style and “documentary imagination”—but his real subject is the broader documentary impulse that was expressed so forcefully and variously during the 1930s. This impulse was hardly confined to the federal government’s interventions in the arts. The connections he draws between the New Deal and, say, Martha Graham’s dance productions, or James Agee and Walker Evans’s Let Us Now Praise Famous Men, are illuminating and convincing.