伊甸园中的伊甸园:1936 - 1939年泽西家园计划社区的犹太政治

IF 0.3 4区 历史学 Q2 HISTORY
Daniel L. Rosenblatt
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Intended to alleviate the hardships caused by the Great Depression, the projects were founded on the premise of subsistence: if struggling Americans were offered employment in agriculture or industry along with a plot of tenable land for personal use, they could provide for themselves and their families.3 While most other planned communities supported white, native-born Americans, the New Jersey colony was unique in welcoming unemployed, foreign-born Jewish garment workers living in New York City.4 Between 1936 and 1939, approximately 120 families arrived at the Jersey Homesteads and set down roots in their new community. For most, the move was the second leg of a longer journey, having immigrated from Eastern Europe over a decade earlier; one resident described the town as \"a transposed Eastern European village or shtetl.\"5 From thousands [End Page 423] of applicants, these families had been chosen based upon characteristics including needlework skill, membership and good standing in the International Ladies' Garment Workers' Union (ILGWU), and demonstrated interest in the cooperative lifestyle.6 Upon renting a home in the community, each family paid a $1 annual membership fee to the cooperative system and could thereby participate in the management of a collectivized garment factory, farm, and consumer store. The town's businesses ultimately struggled to turn a profit. Its garment factory overestimated demand, its orchard failed to deliver marketable produce, and few residents were qualified for agricultural work. After a third season of losses, the town's triple cooperative dissolved in 1939. But many Homesteaders remained in their new community, typically commuting to nearby towns or New York City for work. They continued to rent their homes from the federal government until 1946, when eighty-five of the town's original families purchased them for approximately $4,200 each.7 Such a bold experiment did not go unnoticed. Hundreds of articles in both the local and national press detailed the progress of the short-lived cooperative; some expressed curiosity about the project, and others were immensely critical. Intrigued by this news coverage, thousands of Americans arrived at the town on weekends simply to observe its residents.8 The experiment in cooperative living also captured the eye of many of the nation's top artists. Working under contract with the federal government, muralist Ben Shahn, Farm Security Administration (FSA) photographers Dorothea Lange and Russell Lee, and young architect Louis Kahn all produced works for or relating to the Jersey Homesteads. Considering the remarkable interest that the Jersey Homesteads garnered on a national level, the project has received relatively little scholarly attention.9 [End Page 424] In this article, I examine the history of the Jersey Homesteads and, in particular, the social and political orientation of its residents during the operation of the triple cooperative between 1936 and 1939.10 To do so, I analyze textual and visual sources, many from the town's archive, including newspaper articles, a local newsletter, town planning documents, photographs, a mural, and a songbook. I also draw significantly upon interviews with original Homesteaders conducted between 1981 and 1983 by the Roosevelt Oral History Committee to center the experiences of the residents. To start, I identify the Jersey Homesteads project as a quintessential experiment with social modernism, situated at the progressive end of the spectrum of New Deal ideologies. I then chart the residents' political beliefs and behaviors: their unique engagement with the local communitarian project, their endeavor to achieve dignified working conditions, and their support for global working-class liberation. As the Homesteaders crafted what they saw as a \"promised land\" in New Jersey, they offered an alternative model of American life based on progressive, socialist values. Finally, I note the...","PeriodicalId":43104,"journal":{"name":"AMERICAN JEWISH HISTORY","volume":"147 1","pages":"0"},"PeriodicalIF":0.3000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Eden in the Garden State: Jewish Politics in the Jersey Homesteads Planned Community, 1936–39\",\"authors\":\"Daniel L. 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Intended to alleviate the hardships caused by the Great Depression, the projects were founded on the premise of subsistence: if struggling Americans were offered employment in agriculture or industry along with a plot of tenable land for personal use, they could provide for themselves and their families.3 While most other planned communities supported white, native-born Americans, the New Jersey colony was unique in welcoming unemployed, foreign-born Jewish garment workers living in New York City.4 Between 1936 and 1939, approximately 120 families arrived at the Jersey Homesteads and set down roots in their new community. 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But many Homesteaders remained in their new community, typically commuting to nearby towns or New York City for work. They continued to rent their homes from the federal government until 1946, when eighty-five of the town's original families purchased them for approximately $4,200 each.7 Such a bold experiment did not go unnoticed. Hundreds of articles in both the local and national press detailed the progress of the short-lived cooperative; some expressed curiosity about the project, and others were immensely critical. Intrigued by this news coverage, thousands of Americans arrived at the town on weekends simply to observe its residents.8 The experiment in cooperative living also captured the eye of many of the nation's top artists. Working under contract with the federal government, muralist Ben Shahn, Farm Security Administration (FSA) photographers Dorothea Lange and Russell Lee, and young architect Louis Kahn all produced works for or relating to the Jersey Homesteads. 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引用次数: 0

摘要

伊甸园中的伊甸园:1936-391年泽西家园计划社区的犹太政治丹尼尔·l·罗森布拉特“那是我们的玉米!”一名乘客喊道。“看,那是我们的苹果!”四百英里的苹果!另一个欢呼道。在从纽约市开往新泽西乡村的公共汽车上,有八个犹太家庭,他们很快成为新开发的泽西家园合作社的第一批居民他们的小镇成立于1936年,是新政机构创建的大约100个规划社区之一。这些项目旨在缓解大萧条造成的困难,其建立的前提是维持生存:如果为苦苦挣扎的美国人提供农业或工业方面的就业机会,以及一块可供个人使用的可居住土地,他们就可以养活自己和家人虽然大多数其他计划中的社区支持本土出生的白人,但新泽西殖民地在欢迎居住在纽约市的失业、外国出生的犹太服装工人方面是独一无二的。4在1936年至1939年之间,大约120个家庭来到泽西家园,并在他们的新社区扎根。对大多数人来说,这是一段更漫长旅程的第二站,十多年前他们从东欧移民过来;一位居民将这个小镇描述为“一个颠倒的东欧村庄或犹太人定居点”。从成千上万的申请者中,这些家庭是根据包括针线活技能、国际妇女服装工人联盟(ILGWU)的会员资格和良好的信誉,以及对合作生活方式的兴趣来选择的在社区租房子后,每个家庭每年向合作社支付1美元的会员费,从而可以参与集团化服装厂、农场和消费品商店的管理。该镇的企业最终难以盈利。它的服装厂高估了需求,果园出产不出适销对路的农产品,几乎没有居民有资格从事农业工作。在经历了第三个季度的亏损后,该镇的三重合作社于1939年解散。但许多自建家园的人仍然留在他们的新社区,通常通勤到附近的城镇或纽约市工作。他们继续向联邦政府租用他们的房子,直到1946年,镇上85个原始家庭以每户约4,200美元的价格购买了他们的房子这样一个大胆的实验并没有被忽视。地方和国家报刊上的数百篇文章详细叙述了这个短命合作社的进展;一些人对这个项目表示好奇,另一些人则非常挑剔。被这则新闻报道所吸引,成千上万的美国人在周末来到这个小镇,只是为了观察那里的居民这种合作生活的实验也吸引了许多美国顶尖艺术家的目光。壁画家Ben Shahn、农场安全管理局(FSA)摄影师Dorothea Lange和Russell Lee以及年轻的建筑师Louis Kahn都与联邦政府签订了合同,为Jersey Homesteads制作了作品或与之相关的作品。考虑到泽西庄园在全国范围内引起的巨大兴趣,该项目得到的学术关注相对较少。在本文中,我考察了泽西庄园的历史,特别是在1936年至1939年三方合作社运营期间,其居民的社会和政治取向。为此,我分析了文本和视觉来源,其中许多来自该镇的档案,包括报纸文章,当地时事通讯,城镇规划文件,照片,壁画和一本歌曲集。我还大量引用了罗斯福口述历史委员会在1981年至1983年期间对原始家园居民的采访,以集中居民的经历。首先,我认为泽西家园项目是社会现代主义的一个典型实验,位于新政意识形态光谱的进步末端。然后,我将居民的政治信仰和行为记录下来:他们对当地社区项目的独特参与,他们为获得有尊严的工作条件所做的努力,以及他们对全球工人阶级解放的支持。当自耕农们在新泽西打造他们眼中的“应许之地”时,他们提供了一种基于进步的社会主义价值观的美国生活的替代模式。最后,我注意到……
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Eden in the Garden State: Jewish Politics in the Jersey Homesteads Planned Community, 1936–39
Eden in the Garden State:Jewish Politics in the Jersey Homesteads Planned Community, 1936–391 Daniel L. Rosenblatt (bio) "That's our corn!," one passenger shouted. "Look there's our apples!Four hundred miles of apples!," another cheered. On the bus traveling from New York City to rural New Jersey were eight Jewish families, soon to be the first residents of the newly developed Jersey Homesteads cooperative.2 Their town, founded in 1936, was one of approximately one hundred planned communities created by New Deal agencies. Intended to alleviate the hardships caused by the Great Depression, the projects were founded on the premise of subsistence: if struggling Americans were offered employment in agriculture or industry along with a plot of tenable land for personal use, they could provide for themselves and their families.3 While most other planned communities supported white, native-born Americans, the New Jersey colony was unique in welcoming unemployed, foreign-born Jewish garment workers living in New York City.4 Between 1936 and 1939, approximately 120 families arrived at the Jersey Homesteads and set down roots in their new community. For most, the move was the second leg of a longer journey, having immigrated from Eastern Europe over a decade earlier; one resident described the town as "a transposed Eastern European village or shtetl."5 From thousands [End Page 423] of applicants, these families had been chosen based upon characteristics including needlework skill, membership and good standing in the International Ladies' Garment Workers' Union (ILGWU), and demonstrated interest in the cooperative lifestyle.6 Upon renting a home in the community, each family paid a $1 annual membership fee to the cooperative system and could thereby participate in the management of a collectivized garment factory, farm, and consumer store. The town's businesses ultimately struggled to turn a profit. Its garment factory overestimated demand, its orchard failed to deliver marketable produce, and few residents were qualified for agricultural work. After a third season of losses, the town's triple cooperative dissolved in 1939. But many Homesteaders remained in their new community, typically commuting to nearby towns or New York City for work. They continued to rent their homes from the federal government until 1946, when eighty-five of the town's original families purchased them for approximately $4,200 each.7 Such a bold experiment did not go unnoticed. Hundreds of articles in both the local and national press detailed the progress of the short-lived cooperative; some expressed curiosity about the project, and others were immensely critical. Intrigued by this news coverage, thousands of Americans arrived at the town on weekends simply to observe its residents.8 The experiment in cooperative living also captured the eye of many of the nation's top artists. Working under contract with the federal government, muralist Ben Shahn, Farm Security Administration (FSA) photographers Dorothea Lange and Russell Lee, and young architect Louis Kahn all produced works for or relating to the Jersey Homesteads. Considering the remarkable interest that the Jersey Homesteads garnered on a national level, the project has received relatively little scholarly attention.9 [End Page 424] In this article, I examine the history of the Jersey Homesteads and, in particular, the social and political orientation of its residents during the operation of the triple cooperative between 1936 and 1939.10 To do so, I analyze textual and visual sources, many from the town's archive, including newspaper articles, a local newsletter, town planning documents, photographs, a mural, and a songbook. I also draw significantly upon interviews with original Homesteaders conducted between 1981 and 1983 by the Roosevelt Oral History Committee to center the experiences of the residents. To start, I identify the Jersey Homesteads project as a quintessential experiment with social modernism, situated at the progressive end of the spectrum of New Deal ideologies. I then chart the residents' political beliefs and behaviors: their unique engagement with the local communitarian project, their endeavor to achieve dignified working conditions, and their support for global working-class liberation. As the Homesteaders crafted what they saw as a "promised land" in New Jersey, they offered an alternative model of American life based on progressive, socialist values. Finally, I note the...
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期刊介绍: American Jewish History is the official publication of the American Jewish Historical Society, the oldest national ethnic historical organization in the United States. The most widely recognized journal in its field, AJH focuses on every aspect ofthe American Jewish experience. Founded in 1892 as Publications of the American Jewish Historical Society, AJH has been the journal of record in American Jewish history for over a century, bringing readers all the richness and complexity of Jewish life in America through carefully researched, thoroughly accessible articles.
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