• What steps led to American participation in World War II?
• How did the United States mobilize economic resources and promote popular support tor the war effort?
• What visions of America's postwar role began to emerge during the war?
• How did American minorities face threats to their freedom at home and abroad during World War II?
• How did the end of the war begin to shape the postwar world?
Bу far the most popular works of art produced during World War II were paintings of the Four Freedoms by the magazine illustrator Norman Rockwell. In his State of the Union Address, delivered before Congress on January 6, 1941, President Roosevelt spoke eloquently of a future world order founded on the “essential human freedoms”: freedom of speech, freedom of worship, freedom from want, and freedom from fear. The Four Freedoms became Roosevelt’s favorite statement of Allied aims. At various times, he compared them with the Ten Commandments, the Magna Carta, and the Emancipation Proclamation. They embodied, Roosevelt declared in a 1942 radio address, the “rights of men of every creed and every race, wherever they live,” and made clear “the crucial difference between ourselves and the enemies we face today.”
Rockwell’s paintings succeeded in linking the Four Freedoms with the defense of traditional American values. “Words like freedom or liberty,” declared one wartime advertisement, “draw close to us only when we break them down into the homely fragments of daily life.” This insight helps to explain Rockwell’s astonishing popularity. born in New York City in 1894, Rockwell had lived in the New York area until 1939, when he and his family moved to Arlington, Vermont, where they could enjoy, as he put it, “the clean, simple country life, as opposed to the complicated world of the city.” Drawing on the lives of his Vermont neighbors, Rockwell translated the Four Freedoms into images of real people situated in small-town America. Each of the paintings focuses on an instantly recognizable situation. An ordinary citizen rises to speak at a town meeting; members of different religious groups are seen at prayer; a family enjoys a Thanksgiving dinner; a mother and father stand over a sleeping child.
The Four Freedoms paintings first appeared in the Saturday Evening Post early in 1943. Letters of praise poured in to the magazine’s editors. The government produced and sold millions of reprints. The paintings toured the country as the centerpiece of the Four Freedoms Show, which included theatrical presentations, parades, and other events aimed at persuading Americans to purchase war bonds. By the end of its tour, the Four Freedoms Show had raised $133 million.
Even as Rockwell invoked images of small-town life to rally Americans to the war effort, however, the country experienced changes as deep as at any time in its history. Many of the economic trends and social movements that we associate with the last half of the twentieth century had their roots in the war years. As during World War I, but on a far larger scale, wartime mobilization expanded the size and scope of government and energized the economy. The gross national product more than doubled and unemployment disappeared as war production finally conquered the Depression. The demand for labor drew millions of women into the workforce and sent a tide of migrants from rural America to the industrial cities of the North and West, permanently altering the nation’s social geography. Some 30 million Americans moved during the war, half going into military service and half taking up new jobs.
World War II gave the country a new and lasting international role and greatly strengthened the idea that American security was global in scope and could only be protected by the worldwide triumph of core American values. Government military spending sparked the economic development of the South and West, laying the foundation for the rise of the modern Sunbelt. The war created a close link between big business and a militarized federal government—a “military-industrial complex,” as President Dwight D. Eisenhower would later call it—that long survived the end of fighting.
World War II also redrew the boundaries of American nationality. In contrast to World War I, the government recognized the “new immigrants” of the early twentieth century and their children as loyal Americans. Black Americans’ second-class status assumed, for the first time since Reconstruction, a prominent place on the nation’s political agenda. But toleration had its limits. With the United States at war with Japan, the federal government removed more than 100,000 Japanese-Americans, the majority of them American citizens, from their homes and placed them in internment camps.
A draft of FDR’s Four Freedoms speech of 1941 shows how he added the words “everywhere in the world,” (8 and 13 lines down) indicating that the Four Freedoms should be truly international ideals.
The immensely popular Office of War Information poster reproducing Norman Rockwell’s paintings of the Four Freedoms, President Franklin D. Roosevelt’s shorthand for American purposes in World War II.
As a means of generating support for the struggle, the Four Freedoms provided a crucial language of national unity. But this unity obscured divisions within American society that the war in some ways intensified, divisions reflected in debates over freedom. While some Americans looked forward to a worldwide New Deal, others envisioned “free enterprise” replacing government intervention in the economy. The war gave birth to the modern civil rights movement but strengthened the commitment of many white Americans to maintain the existing racial order. The movement of women into the labor force challenged traditional gender relations, but most men and not a few women longed for the restoration of family life with a male breadwinner and a wife responsible for the home.
Even Rockwell’s popular paintings suggested some of the ambiguities within the idea of freedom. With the exception of Freedom of Speech, which depicts civic democracy in action, the paintings emphasized private situations. The message seemed to be that Americans were fighting to preserve freedoms enjoyed individually or within the family rather than in the larger public world. This emphasis on freedom as an element of private life would become more and more prominent in postwar America.
During the 1930s, with Americans preoccupied by the economic crisis, international relations played only a minor role in public affairs. From the outset of his administration, nonetheless, FDR embarked on a number of departures in foreign policy. In 1933, hoping to stimulate American trade, he exchanged ambassadors with the Soviet Union, whose government his Republican predecessors had stubbornly refused to recognize.
Roosevelt also formalized a policy initiated by Herbert Hoover by which the United States repudiated the right to intervene militarily in the internal affairs of Latin American countries. This Good Neighbor Policy, as it was called, had mixed results. During the 1930s, the United States withdrew its troops from Haiti and Nicaragua. FDR accepted Cuba’s repeal of the Platt Amendment (discussed in Chapter 17), which had authorized American military interventions on that island. These steps offered a belated recognition of the sovereignty of America’s neighbors. But while Roosevelt condemned “economic royalists” (wealthy businessmen) at home, like previous presidents he felt comfortable dealing with undemocratic governments friendly to American business interests abroad. The United States lent its support to dictators hke Anastasio Somoza in Nicaragua, Rafael Trujillo Molina in the Dominican Republic, and Fulgencio Batista in Cuba. “He may be a son of a bitch, but he’s our son of a bitch,” FDR said of Somoza.
However, as the international crisis deepened in the 1930s, the Roosevelt administration took steps to counter German influence in Latin America by expanding hemispheric trade and promoting respect for American culture. Nelson Rockefeller, the head of an office that hoped to expand cultural relations in the hemisphere, sent the artists of the American Ballet Caravan and the NBC Symphony Orchestra on Latin American tours. This was a far different approach to relations with Central and South America than the military interventions of the first decades of the century.