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• W891511036 abstract "American Fun: Four Centuries of Joyous RebellionJohn Beckman New York: Pantheon, 2014. Notes, index, images. 402 pp. $28.95 cloth. ISBN: 97803079808179English Professor John Beckman's book is an erudite, engaging history, utterly free of jargon. His thesis is simple but one that gives him plenty of room for telling delightful stories and offering insight. Somehow, he says, inherent in American character is a love of fun, active, risk-taking, often irreverent enjoyment of flaunted pleasure in face of (p. xiii), but also a fun that unites the crowd in common joy (p. xiv). This love of fun originates with people, even though it was co-opted by impresarios like P. T. Barnum during Gilded Age and, later, by Walt Disney; but best fun still is rebellious and mocking, while remaining civil. American fun descended from festivities of Thomas Morton at Merry Mount in Puritan Massachusetts and playful Sons of Liberty whose protests against British imposition of Tea Act precipitated American Revolution in 1776 to Merry Pranksters of Ken Kesey and new leftists of Yippie movement in 1960s and even antics of punks and anti-World Trade Organization rallies in 1980s and later.For Beckman, fun disdains convention and breaks boundaries (as in Morton's embrace of savages and discovery of indigenous people's playfulness). While acknowledging differences, Beckman sees a bright thread of rebellion running through American history, an affirmation of individualism and personal freedom in an often conformist and repressive culture and society, but also an expression of community, often absent in an America divided by class and race. Repeatedly, fun-loving play of risk-taking hero is posed against a dower, repressive authority or even a reformer who wants to guide fun (Sam vs. John Adams; African American King Charles vs. respectable abolitionist, Frederick Douglass).Beckman is at his best in identifying exemplary personalities and retelling stories of their often brief appearances on national stage. Many of his figures may be familiar (Morton, Sam Adams, P. T. Barnum, Zelda Fitzgerald, and perhaps Abbie Hoffman). But he tells us also about some like John David Borthwick and his observations of dances and jokes of California gold rushers. In Beckman's account of playful congregations of slaves in antebellum New Orleans at Place Congo, he tells intriguing story of how oppressed expressed themselves on their Sundays of freedom. And his writing about vaudeville team of Bert Williams and George Walker (originators of African American cakewalk dance craze of 1896) is sensitive and enlightening. He is a great storyteller, bringing to life adventures of Mae West, Clara Bow, and many more. And, while he may overdo some sections (like his detailed accounts of antics of early hippies in San Francisco and Yippies during Vietnam War), losing at times thread of his narrative, and argument gets a little tired by time he reaches 1970s, he finds ways of integrating divergent expressions of American joyous rebellion. …" @default.
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