The chapter focuses on an analysis of Max Ernst’s early collages and the fatagaga photocollages produced with Hans Arp. It confronts the recycling of war images, arguing that they constitute not only a satire of the militaro-industrial machine of the First World War (the body as site of loss or trauma) but also a narrative of rebirth, informed by alchemical thought. The motif of the chrysalis or the man in flight in Ernst’s works is contrasted with fellow Cologne artist Heinrich Hoerle’s images of the wounded veteran in his series of lithographs, the Cripple Portfolio or Die Krüppelmappe (1919), shaped by a cynical view of the motif of renewal. Hoerle’s ‘unman’ thus confronts Ernst’s New Man.
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.