From its 1874 opening through the 1980s, when East St. Louis became equated with Blackness and crime, the Eads Bridge became an experimental zone, where racist geographic imaginations clashed with liberal fantasies of multiculturalism. On the Eads Bridge, we see the apparatus of hegemony at work, trying to fit all the bridge represents into the nation’s founding myths.
Jonathan Karp graduated 2015 from Washington University in St. Louis and is currently a PhD student in Harvard’s Program in American Studies.
Posts by Jonathan Karp
The real Elvis is American, remember, and America is a consumer society. The desires we project, the stuff we buy—that is what feels real to us. It lets us have any Elvis we want. He left plenty of kitsch in his wake, plenty of pseudo-religion, plenty of Elvis jokes—but he was not, is not, a joke. He lived our contradictions, released our inhibitions, and lost himself in the process.