Fresh Air
Fresh Air with Terry Gross, the Peabody Award-winning weekday magazine of contemporary arts and issues, is one of public radio's most popular programs. Each week, nearly 4.5 million people listen to the show's intimate conversations broadcast on more than 450 National Public Radio (NPR) stations across the country, as well as in Europe on the World Radio Network. Though Fresh Air has been categorized as a "talk show," it hardly fits the mold. Its 1994 Peabody Award citation credits Fresh Air with "probing questions, revelatory interviews and unusual insights." And a variety of top publications count Gross among the country's leading interviewers. The show gives interviews as much time as needed, and complements them with comments from well-known critics and commentators.
cover detail of One Nation Under God...
Kevin Kruse's book looks at how industrialists in the '30s and '40s recruited clergy to preach free enterprise. And under the Eisenhower administration, Christianity and capitalism moved center stage.

The words "under God" in the Pledge of Allegiance and the phrase "In God we trust" on the back of a dollar bill haven't been there as long as most Americans might think. Those references were inserted in the 1950s during the Eisenhower administration, the same decade that the National Prayer Breakfast was launched, according to writer Kevin Kruse. His new book is One Nation Under God.

In the original Pledge of Allegiance, Francis Bellamy made no mention of God, Kruse says. Bellamy was Christian socialist, a Baptist who believed in the separation of church and state.

"As this new religious revival is sweeping the country and taking on new political tones, the phrase 'one nation under God' seizes the national imagination," Kruse tells Fresh Air's Terry Gross. "It starts with a proposal by the Knights of Columbus, the Catholic lay organization, to add the phrase 'under God' to the Pledge of Allegiance. Their initial campaign doesn't go anywhere but once Eisenhower's own pastor endorses it ... it catches fire."

Kruse's book investigates how the idea of America as a Christian nation was promoted in the 1930s and '40s when industrialists and business lobbies, chafing against the government regulations of the New Deal, recruited and funded conservative clergy to preach faith, freedom and free enterprise. He says this conflation of Christianity and capitalism moved to center stage in the '50s under Eisenhower's watch.

"According to the conventional narrative, the Soviet Union discovered the bomb and the United States rediscovered God," Kruse says. "In order to push back against the atheistic communism of the Soviet Union, Americans re-embraced a religious identity. That plays a small role here, but ... there's actually a longer arc. That Cold War consensus actually helps to paper over a couple decades of internal political struggles in the United States. If you look at the architects of this language ... the state power that they're worried most about is not the Soviet regime in Moscow, but rather the New Deal and Fair Deal administrations in Washington, D.C."


Interview Highlights

On how corporations hired ministers to spread "free enterprise"

The New Deal had passed a large number of measures that were regulating business in some ways for the first time, and it [had] empowered labor unions and given them a voice in the affairs of business. Corporate leaders resented both of these moves and so they launched a massive campaign of public relations designed to sell the values of free enterprise. The problem was that their naked appeals to the merits of capitalism were largely dismissed by the public.

The most famous of these organizations was called The American Liberty League and it was heavily financed by leaders at DuPont, General Motors and other corporations. The problem was that it seemed like very obvious corporate propaganda. As Jim Farley, the head of the Democratic Party at the time, said: "They ought to call it The American Cellophane League, because No. 1: It's a DuPont product, and No. 2: You can see right through it."

So when they realized that making this direct case for free enterprise was ineffective, they decided to find another way to do it. They decided to outsource the job. As they noted in their private correspondence, ministers were the most trusted men in America at the time, so who better to make the case to the American people than ministers?

On the message the ministers conveyed

They use these ministers to make the case that Christianity and capitalism were soul mates. This case had been made before, but in the context of the New Deal it takes on a sharp new political meaning. Essentially they argue that Christianity and capitalism are both systems in which individuals rise and fall according to their own merits. So in Christianity, if you're good you go to heaven, if you're bad you go to hell. In capitalism if you're good you make a profit and you succeed, if you're bad you fail.

The New Deal, they argue, violates this natural order. In fact, they argue that the New Deal and the regulatory state violate the Ten Commandments. It makes a false idol of the federal government and encourages Americans to worship it rather than the Almighty. It encourages Americans to covet what the wealthy have; it encourages them to steal from the wealthy in the forms of taxation; and, most importantly, it bears false witness against the wealthy by telling lies about them. So they argue that the New Deal is not a manifestation of God's will, but rather, a form of pagan stateism and is inherently sinful.

On the Rev. James Fifield

He takes over the pastorate at the First Congregational Church in Los Angeles, an elite church, literally ministering to millionaires in his pews. It's got some of the town's most wealthy citizens — the mayor attends service there, [Hollywood filmmaker] Cecil B. DeMille. He tells these millionaires what they want to hear, which is that their worldly success is a sign of heavenly blessing. He has a very loose approach to the Bible. He says that reading the Bible should be like eating fish: We take out the bones to enjoy the meat; all parts are not of equal value. Accordingly, he disregarded Christ's many injunctions about the dangers of wealth, and instead preached a philosophy that wedded capitalism to Christianity.

On the Rev. James Fifield's "spiritual mobilization"

"Spiritual mobilization" is his effort to recruit other ministers to the cause. So he is serving, in many ways, as a front man for a number of corporate leaders. His main sponsors are Sun Oil president J. Howard Pew, Alfred Sloan of General Motors, the heads of the U.S. Chamber of Commerce, the National Association of Manufacturers, they all heavily fund this organization. But what Fifield sets out to do is recruit other ministers to his cause. Within the span of just a decade's time, he has about 17,000 so-called "minister representatives" who belong to the organization who are literally preaching sermons on its Christian libertarian message to their congregations, who are competing in sermon contest[s] for cash prizes and they're doing all they can in their local communities to spread this message that the New Deal is essentially evil, it's a manifestation of creeping socialism that is rotting away the country from within. Instead they need to rally around business leaders and make common cause with them to defend what they call "the American way of life."

On Fifield's contribution to the alliance between business and Christian leaders

He helps refine the message considerably. He comes up with the phrase that reduces this Christian libertarian ideology down to a catchy slogan and that slogan is "Freedom Under God," as opposed to the slavery of the state. He popularizes this using the generous funding of his corporate backers ... through a weekly radio program that soon appears on over 800 stations nationwide, through monthly magazines that popularizes the writings of Libertarian and conservative authors and most importantly, I think, through a massive Fourth of July ceremony in 1951, a ceremony organized by Cecil B. DeMille, featuring James Stewart as the master of ceremonies, and carried live coast-to-coast over national radio. In that ceremony, as in the magazine and the weekly radio show, he promotes this message that freedom under God is an essential value; that Americans need to cast off the slavery of the state and instead embrace a rugged individualism.

On "In God we trust" appearing on coins and stamps

So the phrase "In God we trust" comes from an often forgotten stanza of The Star Spangled Banner. It goes: "Then conquer we must when our cause it is just, and this be our motto — 'In God is our trust.'" That stanza was largely forgotten until the Civil War when that phrase "In God we trust" is plucked out of that line and placed on coins. And it is done so at the urging of religious leaders who believe the Civil War has come as a result of America's original sin, of not officially being founded as a Christian nation. And they ask the Secretary of Treasury to correct that and he does so by placing it on coins.

The phrase appears on coins intermittently over the next 50 or 60 years. Theodore Roosevelt tries to have it removed — he believes it's close to sacrilege — but the public outcry prevents him from doing so. During this moment of the Eisenhower years, the phrase flourishes and it does so first when it's placed on a stamp in 1954. Then [in] 1955, Congress decides to add it to not just coins but to paper money. And in 1956, they move to make it the country's first official national motto.

On the use of "God bless America" in presidential speeches

President Reagan is the innovator when it comes to the use of "God bless America." A study by communication scholars David Domke and Kevin Coe shows previously only one president had used that phrase to close a speech out and it's an inauspicious occasion — it's President Nixon in 1973 trying to talk his way out of the Watergate scandal. But Reagan quickly makes it a fixture of all of his speeches, so much so that we can't imagine a president ending a speech without some variation of "God bless America."

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Fresh Air jazz critic Kevin Whitehead says that Art Pepper played like he was making up for lost time.

Since 2006, Laurie Pepper, the widow of jazz saxophonist Art Pepper, has been releasing live recordings her husband made during the last years of his life. A new batch of these recordings from 1981 is out. Fresh Air jazz critic Kevin Whitehead says that Art Pepper played like he was making up for lost time.

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Clive James — an author, critic, broadcaster, poet, translator and memoiri...
Clive James was diagnosed with leukemia a few years ago. "There is a grief in all poetry," he writes in his latest book of essays. "Poetry holds itself together, and eventually we ourselves do not."

Clive James' most anthologized poem is commonly known by its first two lines: "The Book of My Enemy Has Been Remaindered/And I Am Pleased." Those lines tell the uninitiated almost all they need to know about the pleasures to be found in reading James: chief among them, his wit and his appreciation of the underlying absurdity of so much literary effort — including his own.

What those famous lines don't reveal about James is his erudition, lightly worn but very much on display in his latest book of criticism, called Poetry Notebook. In his introduction, James says that, for him, poetry has been "the occupation of a lifetime." It's a lifetime that's drawing to a close — James was diagnosed a few years ago with leukemia and this short book is shot through with an awareness that the poems he's talking about will outlast him; or, as James more elegantly puts it. "There is a grief in all poetry. ... Poetry holds itself together, and eventually we ourselves do not."

Poetry Notebook is a rousing compendium of short essays about poetry and poets that James has published over the years. Never one to hesitate about issuing a provocative verdict, James pays homage to poets like Yeats, Auden, Frost and Richard Wilbur, whom he considers immortals, and rips into others whose work he deems overpraised. Thus, no less an eminence than John Milton is condemned for being a show off and "clogging" his verse with learned references that render large swaths of Paradise Lost unreadable. James also clearly possesses an encyclopedic recall for other poets' barbed criticisms; so, part of the pleasure of reading Poetry Notebook is learning (or perhaps being reminded) that: "Philip Larkin once said that the influence of Yeats could be all-pervasive, getting into everything like the smell of garlic."

One word of caution: James holds fast to his identity as a formalist, someone who would, at bottom, generally agree with Robert Frost's celebrated dismissal of formless poetry as playing "tennis without a net." So, don't expect any celebrations of the likes of rap or "spoken word poetry" in these pages. Furthermore, James only manages the briefest of nervous nods to those exotic creatures on the margins — female poets like Elizabeth Bishop, Amy Clampitt and Sylvia Plath. Reading Poetry Notebook is like stepping into a popular college seminar circa 1979. You'll learn a lot and be vastly entertained, but be aware that multiculturalism hasn't made much of a dent on James's written-in-stone syllabus.

What you will find in Poetry Notebook are charged, idiosyncratic readings of the classics as well as more recent works by (albeit) male poets you may not have heard of, but will want to dig into, like James's fellow Australian Stephen Edgar and the late American poet, Michael Donaghy. As amusing as his dyspeptic quips always are, James' intellect shines brightest in his role as enthusiast, taking us through works that he loves. Here for instance is a brief, brief poem about World War II by Greenwich Village poet Samuel Menashe, who died in 2011. It's called "Beachhead":

The tide ebbs

From a helmet

Wet sand embeds

"That's the whole poem," James comments, "and there's a whole war in it." He also says about Menashe that "his full force ... is no noisier than a bug hitting your windscreen, except it comes right through the glass."

The same might be said of James' own critical writing here. "Intensity of language" is the crucial ingredient for James, the thing that separates poetry from prose; that distinguishes a glom of words from something that breathes. His own "intensity of language" — in this collection and throughout so much of his life's writing — has validated James's critical authority to pass judgment on the work of others. You may not agree with James's selections in Poetry Notebook or some of his opinions, but I defy anyone not to be moved by these essays in which a great critic reflects on the works that have shaped him, even as, James says, he prepares himself to head off to "the empty regions."

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