Janet Zandy – författare

Writing from a working-class perspective, Janet Zandy links labor and art to challenge the unnamed class biases in systems of art curation, categorization and expertise. Zandy orchestrates the voices of nine artists – Käthe Kollwitz and Elizabeth Catlett, Ruth Asawa and Marilyn Anderson, Milton Rogovin and Jens S. Jensen, Mark Rogovin and muralism, Ralph Fasanella, and Raymond Mason – whose work aligns with the histories and living conditions of working-class people. These paired portraits open larger conversations about class and artistic formation, intent, and accessibility. Zandy presents a model for writing about art in an inclusive, theoretically informed, and creatively constructed way. Art, as Zandy shows, is not a rare fruit to be plucked by the chosen few. Art is a human necessity and crucial for the sustenance of democracy. Ambitious and original, Working-Class Girls Don't Become Artists rewrites art history from a working-class perspective.

American Working-Class Literature is an edited collection containing over 300 pieces of literature by, about, and in the interests of the working class in America. Organized in a broadly historical fashion, with texts and grouped around key historical and cultural developments in working-class life, this volume records the literature of the working classes from the early laborers of the 1600 up until the present. Though diverse genres including fiction, poetry, letter, and song, this unique volume demonstrates the diverse voices of America's working-class population but also their potential solidarity across the many differences of identity and location. Introductions for each of the seven sections and brief essays preceding each selection provide information about the author's life and writing, and accounts of the contexts - historical, artistic, political - in which that text was produced.

Writing from a working-class perspective, Janet Zandy links labor and art to challenge the unnamed class biases in systems of art curation, categorization and expertise. Zandy orchestrates the voices of nine artists – Käthe Kollwitz and Elizabeth Catlett, Ruth Asawa and Marilyn Anderson, Milton Rogovin and Jens S. Jensen, Mark Rogovin and muralism, Ralph Fasanella, and Raymond Mason – whose work aligns with the histories and living conditions of working-class people. These paired portraits open larger conversations about class and artistic formation, intent, and accessibility. Zandy presents a model for writing about art in an inclusive, theoretically informed, and creatively constructed way. Art, as Zandy shows, is not a rare fruit to be plucked by the chosen few. Art is a human necessity and crucial for the sustenance of democracy. Ambitious and original, Working-Class Girls Don't Become Artists rewrites art history from a working-class perspective.

Working-class women are the majority of women in the United States, and yet their work and their culture are rarely visible. Calling Home is an anthology of writings by and about working-class women. Over fifty selections represent the ethnic, racial, and geographic diversity of working-class experience. This is writing grounded in social history, not in the academy. Traditional boundaries of genre and periodization collapse in this collection, which includes reportage, oral histories, speeches, songs, and letters, as well as poetry, stories, and essays. The divisions in this collection - telling stories, bearing witness, celebrating solidarity - address the distinction of "by" or "about" working-class women, and show the connections between individual identity and collective sensibility in a common history of struggle for economic justice.The geography of home, identity, parents, sex, motherhood, the dominance of the job, the overlapping of private and public worlds, the promise of solidarity and community are a few of the themes of this book. Here is a chorus of working class women's voices: Sandra Cisneros, Barbara Garson, Meridel Le Sueur, Tillie Olsen, Barbara Smith, Endesha I. M. Holland, Mother Jones, Nellie Wong, Agnes Smedley, Bobbie Louise Hawkins, Sharon Doubiago, Carol Tarlen, Hazel Hall, Margaret Randall, Judy Grahn, and many others!The aesthetic impulse is shaped by class, but not limited to one ruling class. What connects these writers is a collective consciousness, a class, which rejects bondage and lays claim to liberation through all  the possibilities of language. Calling Home is illustrated with family photographs as well as images of working women by professional photographers.

This is a book about working-class identity, consciousness, and self-determination. It offers an alternative to middle-class assimiliation and working-class amnesia. The twenty-five contributors use memory--both personal and collective--to show the relationship between the uncertain economic rhythms of working-class life and the possibilities for cultural and political agency. Manual labor and intellectual work are connected in these multicultural autobiographies of writers, educators, artists, political activists, musicians, and photographers and in the cultural work--the poems, stories, photographs, lectures, music--they produce. Illustrated with family snapshots, this collection--the first of its kind--includes the work of a female machinist who is also a poet, a secretary who is also a writer, a poet who worked on the assembly line, a musician who was also a red-diaper baby, and an academic who is recovering the working-class writing of her father. The consciousness that is revealed in this book makes evident the value of class identity to collective, democratic struggle. The contributors are Maggie Anderson, Steve Cagan, Jim Daniels, Lennard Davis, Masani Alexis de Veaux, Sue Doro, Julie Olsen Edwards, Carol Faulkner, Barbara Fox, Laura Hapke, Florence Howe, David Joseph, Linda McCarriston, Wilma Elizabeth McDaniel, Gregory Mantsios, M. Bella Mirabella, Joseph Nassar, Tillie Olsen, Maxine Scates, Saul Slapikoff, Clarissa T. Sligh, Carol Tarlen, Joann Maria Vasoncellos, Pat Wynne, and Janet Zandy.