Class : Culture – serie

In this classic study, Sidney Fine portrays the dramatic events of the 1936–37 Flint Sit-down Strike against General Motors, which catapulted the UAW into prominence and touched off a wave of sit-down strikes across the United States. Basing his account on an impressive variety of manuscript sources, Fine analyzes the strategy and tactics of GM and the UAW, describes the life of the workers in the occupied plants, and examines the troubled governmental and public reaction to the alleged breakdown of law and order in the strikes. In addition, Fine provides vivid portraits of the major figures on both sides of the conflict: Governor Frank Murphy; Alfred Sloan, Jr.; William Knudsen; Robert Travis; Roy, Victor, and Walter Reuther; Homer Martin; and Wyndham Mortimer. The GM sit-down strike marks the close of one era of labor-management relations in the United States and the beginning of another. A half century after its initial publication, Fine’s work remains the definitive account of that momentous conflict. A new foreword by Kim Moody’s revisits Sit-Down in order to demonstrate its continued relevance to today’s unions, workers, and activists.

Vanishing Moments analyzes how various American authors have reified class through their writing, from the first influx of industrialism in the 1850s to the end of the Great Depression in the early 1940s. Eric Schocket uses this history to document America’s long engagement with the problem of class stratification and demonstrates how deeply America’s desire to deny the presence of class has marked even its most labor-conscious cultural texts.Schocket offers careful readings of works by Herman Melville, Rebecca Harding Davis, William Dean Howells, Jack London, T. S. Eliot, Gertrude Stein, Muriel Rukeyser, and Langston Hughes, among others, and explores how these authors worked to try to heal the rift between the classes. He considers the challenges writers faced before the Civil War in developing a language of class amidst the predominant concerns about race and slavery; how early literary realists dealt with the threat of class insurrection; how writers at the turn of the century attempted to span the divide between the classes by going undercover as workers; how early modernists used working-class characters and idioms to shape their aesthetic experiments; and how leftists in the 1930s struggled to develop an adequate model to connect class and literature. Vanishing Moments’ unique combination of a broad historical scope and in-depth readings makes it an essential book for scholars and students of American literature and culture, as well as for political scientists, economists, and humanists.Eric Schocket is Associate Professor of American Literature at Hampshire College. “An important book containing many brilliant arguments—hard-hitting and original. Schocket demonstrates a sophisticated acquaintance with issues within the working-class studies movement.”--Barbara Foley, Rutgers University

Let Me Live tells the remarkable story of Angelo Herndon, a coal miner who worked as a labor organizer in Alabama and Georgia in the 1930s. Herndon led a racially integrated march of the unemployed in 1932 and was subsequently arrested when Communist Party literature was found in his bedroom. His trial made only small headlines at first, but eventually an international campaign to free him emerged, thanks to the efforts of the Communist Party and of labor unions interested in protecting the right to organize in the South. Herndon was finally set free by the U.S. Supreme Court, with the help of well-known leaders including C. Vann Woodward, Thurgood Marshall, A. Philip Randolph, and Whitney North Seymour, Sr.Written while Herndon was in prison, Let Me Live tells the story behind his arrest and his struggle through the courts. It also describes his early life as a young boy in poverty, as a laborer in the Kentucky mines, and as a construction gang worker and traces the birth and development of his passion for the Communist Party. Originally published in 1937, this is the first new edition of Let Me Live since 1969, when Howard N. Meyer rescued it from obscurity. The book features texts from the Georgia and U.S. Supreme Court decisions, the text of Herndon’s speech, and newspaper editorials from the era. A substantive and thought-provoking introduction by Marlon B. Ross of the University of Virginia sheds light on this unique story and its importance to our understanding of the intersection of race and class in America—past and present. “A book which every thoughtful American may do well to read. It is moving and challenging as the story of one man’s life and the question of one man’s fate.”—New York Times

"An outstanding piece of scholarship and a welcome contribution to the field, this collection of neglected but powerful poetry speaks to our own time as much as it does to its own era."---Nicholas Coles, University of Pittsburgh "Opens up a dramatic new aspect of American literature for study, discussion, and enjoyment. The collection of poems is original and engaging and is sure to be useful for classes in literature, American history, and labor studies."---Alan Wald, University of Michigan You Work Tomorrow provides a glimpse into a relatively unknown aspect of American literary and labor history---the remarkable but largely forgotten poems published in union newspapers during the turbulent 1930s. Members of all unions---including autoworkers, musicians, teachers, tenant farmers, garment workers, artists, and electricians---wrote thousands of poems during this period that described their working, living, and political conditions. From this wealth of material, John Marsh has chosen poetry that is both aesthetically appealing and historically relevant, dispelling the myth that labor poetry consisted solely of amateurish and predictable sloganeering. A foreword by contemporary poet Jim Daniels is followed by John Marsh's substantive introduction, detailing the cultural and political significance of union poetry. John Marsh is Assistant Professor of English at the University of Illinois at Urbana-Champaign and Coordinator of The Odyssey Project, a year-long, college-accredited course in the humanities offered at no cost to adults living below or slightly above the federal poverty level. A volume in the series Class : Culture

"Drawing upon census data, trade periodicals devoted to stenography and court reporting, the writings of educational reformers, and fiction, Srole allows us to better understand the roles that gender and work played in the formation of middle-class identity. Clearly written and thoroughly researched, her book reminds us of the contradictions that both men and women faced as they navigated changes in the labor market and sought to realize a modern professional identity."---Thomas Augst, New York UniversityTranscribing Class and Gender explores the changing meanings of clerical work in nineteenth-century America, focusing on the discourse surrounding that work. At a time when shorthand transcription was the primary method of documenting business and legal communications and transactions, most stenographers were men, but changing technology saw the emergence of women in the once male-dominated field. Carole Srole argues that this shift placed stenographers in a unique position to construct a new image of the professional man and woman and, in doing so, to redefine middle- and working-class identities. Many male court reporters emphasized their professionalism, portraying themselves as educated language experts as a way to elevate themselves above the growing numbers of female and working-class stenographers and typewriter operators. Meanwhile, women in the courts and offices were confronting the derogatory image of the so-called Typewriter Girl who cared more about her looks, clothing, and marriage prospects than her job. Like males in the field, women responded by fashioning a gendered professional image---one that served to combat this new version of degraded female labor while also maintaining traditional ideals of femininity.The study is unique in the way it reads and analyzes popular fiction, stenography trade magazines, the archives of professional associations, and writings by educational reformers to provide new perspectives on this history. The author challenges the common assumption that men and women clerks had separate work cultures and demonstrates how each had to balance elements of manhood and womanhood in the drive toward professionalism and the construction of a new middle-class image. Transcribing Class and Gender joins the recent scholarship that employs cultural studies approaches to class and gender without abandoning the social history valuation of workers' experiences. Carole Srole is Professor of History at California State University, Los Angeles.Photo: A female stenographer working for an actuary in 1897. Courtesy Metlife Archives.

"This is a theoretically sophisticated and thoroughly documented historical case study of the movements for African American liberation in St. Louis. Through detailed analysis of black working class mobilization from the depression years to the advent of Black Power, award-winning historian Clarence Lang describes how the advances made in earlier decades were undermined by a black middle class agenda that focused on the narrow aims of black capitalists and politicians. The book is a major contribution to our understanding of the black working class insurgency that underpinned the civil rights and Black Power campaigns of the twentieth century."---V. P. Franklin, University of California, Riverside"A major work of scholarship that will transform historical understanding of the pivotal role that class politics played in both civil rights and Black Power activism in the United States. Clarence Lang's insightful, engagingly written, and well-researched study will prove indispensable to scholars and students of postwar American history."---Peniel Joseph, Brandeis UniversityBreaking new ground in the field of Black Freedom Studies, Grassroots at the Gateway reveals how urban black working-class communities, cultures, and institutions propelled the major African American social movements in the period between the Great Depression and the end of the Great Society. Using the city of St. Louis in the border state of Missouri as a case study, author Clarence Lang undermines the notion that a unified "black community" engaged in the push for equality, justice, and respect. Instead, black social movements of the working class were distinct from---and at times in conflict with---those of the middle class. This richly researched book delves into African American oral histories, records of activist individuals and organizations, archives of the black advocacy press, and even the records of the St. Louis' economic power brokers whom local black freedom fighters challenged. Grassroots at the Gateway charts the development of this race-class divide, offering an uncommon reading of not only the civil rights movement but also the emergence and consolidation of a black working class.Clarence Lang is Assistant Professor in African American Studies and History at the University of Illinois at Urbana-Champaign. Photo courtesy Western Historical Manuscript Collection, University of Missouri, St. Louis

Whether found in country barn dances, the plaintive twang of Hank Williams, the glitzy glamour of Dolly Parton, or the country-pop sound of Faith Hill, country music has always maintained an allegiance to its own authenticity. Its specific sounds and images have changed over the past century, but country music has consistently been associated with rusticity, a notion connected to the working class and rooted in ideals like unspoiled rural life and values and humble origins. The music suggests not only uncomplicated musical arrangements and old-time instruments such as the banjo and fiddle, but performers who identify with their everyday fans. Natural Acts explores the ways that country musicians -- particularly women artists -- have established a "natural" country identity. Pamela Fox focuses on five revealing moments in country performance: blackface comedy during country music's "Golden Age" of pre-1945 radio and stage programming; the minstrel's "rube" or hillbilly equivalent in the same period; postwar honky-tonk music and culture; the country star memoir or autobiography of the '80s and '90s; and the recent roots phenomenon known as alt.country. "'All I gotta do is act naturally,' Buck Owens sang, and Pamela Fox knows where the acting comes in. From early hillbilly acts to alt.country, Natural Acts lays bare, with wide-ranging scholarship and incisive analysis, the ideologies of authenticity on which country music rests. As engrossing and useful as any book I know on country music." ---Eric Lott, author of Love and Theft: Blackface Minstrelsy and the American Working Class "The first completely mature book of country music historical criticism. It is a deep investigation of country music's power to articulate the displaced pleasures and anxieties of a society wracked by structural change. Historically rigorous, Fox uncovers documents that demonstrate the ongoing power of minstrelsy in barn dance programs across the country past World War II; musically and lyrically astute, she shows how the best honky-tonk music simultaneously critiques the dangers of that setting while seductively luring listeners to those sawdust and alcohol drenched environments; with her ear attuned to the formal complexities of autobiography, Fox directs our attention to the contradictory performance of identity that characterizes the life stories of Reba McEntire, Naomi Judd, Dolly Parton, and others. Natural Acts is provocative, stunning, and engagingly written. Country music studies has come of age." ---Barry Shank, The Ohio State University

For more than twenty years, Michael Moore has transformed himself from a marginal filmmaker into a cultural icon, unofficial spokesperson for liberals and the Left. American conservatives constantly use him for target practice and target. Book author, film director, television personality, and Web presence, Moore is now a one-man cultural phenomenon. Although Michael Moore is a constant presence on the media landscape, this is the first volume to focus on the Moore phenomenom. It explores Moore's work in film and elsewhere, bringing diverse perspectives on his activities and status as voice of liberal America and the disenfranchised working class. Topics examined include the disjunction between Moore's celebrity status and everyman, middle-western persona, his self-mocking ironic sensibility, his tendency to diagnose American social and political problems in terms of class rather than gender, his reception abroad, and his uneasy relationship with the conventions of documentary filmmaking. The contributors are leading scholars and film critics, including Paul Arthur, Cary Elza, Jeffrey P. Jones, Douglas Kellner, Richard Kilborn, William Luhr, Charles Musser, Richard R. Ness, Miles Orvell, Richard Porton, Sergio Rizzo, Christopher Sharrett, Gaylyn Studlar, and David Teztlaff. The volume features both assessments of Moore's work in general and close analyses of his most successful films. The result is a definitive assessment of Moore's career to date.Matthew Bernstein is Professor and Chair of Film Studies at Emory University. He is author of Walter Wanger: Hollywood Independent.

"Impressive—Marsh successfully rewrites the founding moment of American Modernist poetry." ---Mark Van Wienen, Northern Illinois University"Cogently argued, instructive, and sensitive, Marsh’s revisionist reading opens new insights that will elicit lively comment and critical response." ---Douglas Wixson, University of Missouri–RollaBetween 1909 and 1922, the genre of poetry was remade. Literary scholars have long debated why modern American poetry emerged when and how it did. While earlier poetry had rhymed, scanned, and dealt with conventional subjects such as love and nature, modern poetry looked and sounded very different and considered new areas of experience. Hog Butchers, Beggars, and Busboys: Poverty, Labor, and the Making of Modern American Poetry argues that this change was partially the result of modern poets writing into their verse what other poetry had suppressed: the gritty realities of modern life, including the problems of the poor and working class.A closer look at the early works of the 20th century's best known poets (William Carlos Williams, T. S. Eliot, Edna St. Vincent Millay, Claude McKay, Langston Hughes, and Carl Sandburg) reveals the long-neglected role the labor problem—including sweatshops, strikes, unemployment, woman and child labor, and immigration---played in the formation of canonical modern American poetry. A revisionary history of literary modernism and exploration into how poets uniquely made the labor problem their own, this book will appeal to modernists in the fields of American and British literature as well as scholars in American studies and the growing field of working-class literature.

Few other television series have received as much academic, media, and fan celebration as The Wire, which has been called the best dramatic series ever created. The show depicts the conflict between Baltimore's police and criminals to raise a warning about race; drug war policing; deindustrialization; and the inadequacies of America’s civic, educational, and political institutions. The show's unflinching explorations of a city in crisis and its nuanced portrayals of those affected make it a show all about race and class in America.The essays in this volume offer a range of astute critical responses to this television phenomenon. More consistently than any other crime show of its generation, The Wire challenges viewers' perceptions of the racialization of urban space and the media conventions that support this. The Wire reminds us of just how remarkably restricted the grammar of race is on American television and related media, and of the normative codings of race---as identity, as landscape---across urban narratives, from documentary to entertainment media.

The 1960s, including the black social movements of the period, are an obstacle to understanding the current conditions of African Americans, argues Clarence Lang. While Americans celebrate the current anniversaries of various black freedom milestones and the election of the first black president, the effects of neoliberalism since the 1970s have been particularly devastating to African Americans. Neoliberalism, which rejects social welfare protections in favor of individual liberty, unfettered markets, and a laissez-faire national state, has produced an environment in which people of color struggle with unstable employment, declining family income, rising household debt, increased class stratification, and heightened racial terrorism and imprisonment. The book argues that a reassessment of the Sixties and its legacies is necessary to make better sense of black community, leadership, politics, and the prospects for social change today. Combining interdisciplinary scholarship, political reportage, and personal reflection, this work sheds powerful light on the forces underlying the stark social and economic circumstances facing African Americans today, as well as the need for cautious optimism alongside sober analysis.

The Poverty Law Canon takes readers into the lives of the clients and lawyers who brought critical poverty law cases in the United States. These cases involved attempts to establish the right to basic necessities, as well as efforts to ensure dignified treatment of welfare recipients and to halt administrative attacks on federal program benefit levels. They also confronted government efforts to constrict access to justice, due process, and rights to counsel in child support and consumer cases, social welfare programs, and public housing. By exploring the personal narratives that gave rise to these lawsuits as well as the behind-the-scenes dynamics of the Supreme Court, the text locates these cases within the social dynamics that shaped the course of litigation.Noted legal scholars explain the legal precedent created by each case and set the case within its historical and political context in a way that will assist students and advocates in poverty-related disciplines in their understanding of the implications of these cases for contemporary public policy decisions in poverty programs. Whether the focus is on the clients, on the lawyers, or on the justices, the stories in The Poverty Law Canon illuminate the central legal themes in federal poverty law of the late 20th century and the role that racial and economic stereotyping plays in shaping American law.

Starting in the late 1970s, tens of thousands of American industrial workers lost jobs in factories and mines. Deindustrialization had dramatic effects on those workers and their communities, but its longterm effects continue to ripple through working-class culture. Economic restructuring changed the experience of work, disrupted people’s sense of self, reshaped local landscapes, and redefined community identities and expectations. Through it all, working-class writers have told stories that reflect the importance of memory and the struggle to imagine a different future. These stories make clear that the social costs of deindustrialization affect not only those who lost their jobs but also their children, their communities, and American culture.Through analysis of poetry, fiction, creative nonfiction, film, and drama, The Half-Life of Deindustrialization shows why people and communities cannot simply “get over” the losses of economic restructuring. The past provides inspiration and strength for working-class people, even as the contrast between past and present highlights what has been lost in the service economy. The memory of productive labor and stable, proud working-class communities shapes how people respond to contemporary economic, social, and political issues. These stories can help us understand the resentment, frustration, pride, and persistence of the American working class.

Dialectical Imaginaries brings together essays that analyze the effects of class conflict and capitalist ideology on contemporary works of U.S. Latino/a literature. The editors argue that recent global events have compelled contemporary scholars to reexamine traditional interpretive models that center on identity politics and an ethics of multiculturalism. The volume seeks to demonstrate that materialist methodologies have a greater critical reach than other methods, and that Latino/a literary criticism should be more attuned to interpretive approaches that draw on Marxism and other globalizing social theories. The contributors analyze a wide range of literary works in fiction, poetry, drama, and memoir by writers including Rudolfo Anaya, Gloria Anzaldúa, Daniel Borzutzky, Angie Cruz, Sergio de la Pava, Mónica de la Torre, Sergio Elizondo, Juan Felipe Herrera, Rolando Hinojosa, Quiara Alegría Hudes, Lin-Manuel Miranda, Óscar Martínez, Cherríe Moraga, Urayoán Noel, Emma Pérez, Pedro Pietri, Miguel Piñero, Ernesto Quiñónez, Ronald Ruiz, Hector Tobar, Rodrigo Toscano, Alfredo Véa, Helena María Viramontes, and others.

Of Vagabonds and Fellow Travelers recovers the history of the writers, artists, and intellectuals of the African diaspora who, witnessing a transition to an American-dominated capitalist world-system during the Cold War, offered searing critiques of burgeoning U.S. hegemony. Cedric R. Tolliver traces this history through an analysis of signal events and texts where African diaspora literary culture intersects with the wider cultural Cold War, from the First Congress of Black Writers and Artists organized by Francophone intellectuals in September 1956 to the reverberations among African American writers and activists to the assassination of Patrice Lumumba. Among Tolliver’s subjects are Caribbean writers Jacques Stephen Alexis, George Lamming, and Aimé Césaire, the black press writing of Alice Childress and Langston Hughes, and the ordeal of Paul Robeson, among other topics. The book’s final chapter highlights the international and domestic consequences of the cultural Cold War and discusses their lingering effects on our contemporary critical predicament.

In February 2018, 35,000 public school educators and staff walked off the job in West Virginia. More than 100,000 teachers in other states—both right-to-work states, like West Virginia, and those with a unionized workforce—followed them over the next year. From Arizona, Kentucky, and Oklahoma to Colorado and California, teachers announced to state legislators that not only their abysmal wages but the deplorable conditions of their work and the increasingly straitened circumstances of public education were unacceptable. These recent teacher walkouts affirm public education as a crucial public benefit and understand the rampant disinvestment in public education not simply as a local issue affecting teacher paychecks but also as a danger to communities and to democracy. Strike for the Common Good gathers together original essays, written by teachers involved in strikes nationwide, by students and parents who have supported them, by journalists who have covered these strikes in depth, and by outside analysts (academic and otherwise). Together, the essays consider the place of these strikes in the broader landscape of recent labor organizing and battles over public education, and attend to the largely female workforce and, often, largely non-white student population of America’s schools.

For much of the twentieth century, the iconic figure of the U.S. working class was a white, male industrial worker. But in the contemporary age of capitalist globalization new stories about work and workers are emerging to refashion this image. Living Labor examines these narratives and, in the process, offers an innovative reading of American fiction and film through the lens of precarious work. It argues that since the 1980s, novelists and filmmakers—including Russell Banks, Helena Víramontes, Karen Tei Yamashita, Francisco Goldman, David Riker, Ramin Bahrani, Clint Eastwood, Courtney Hunt, and Ryan Coogler—have chronicled the demise of the industrial proletariat, and the tentative and unfinished emergence of a new, much more diverse and perilously positioned working class. In bringing together stories of work that are also stories of race, ethnicity, gender, and colonialism, Living Labor challenges the often-assumed division between class and identity politics. Through the concept of living labor and its discussion of solidarity, the book reframes traditional notions of class, helping us understand both the challenges working people face and the possibilities for collective consciousness and action in the global present.Cover attribution: Allan Sekula, Shipwreck and worker, Istanbul,fromTITANIC’s wake, 1998/2000. Courtesy of the Allan Sekula Studio.

Commerce in Color explores the juncture of consumer culture and race by examining advertising, literary texts, mass culture, and public events in the United States from 1893 to 1933. James C. Davis takes up a remarkable range of subjects—including the crucial role publishers Boni and Liveright played in the marketing of Harlem Renaissance literature, Henry James’s critique of materialism in The American Scene, and the commodification of racialized popular culture in James Weldon Johnson’s The Autobiography of an Ex-Colored Man—as he argues that racial thinking was central to the emergence of U.S. consumerism and, conversely, that an emerging consumer culture was a key element in the development of racial thinking and the consolidation of racial identity in America. By urging a reassessment of the familiar rubrics of the “culture of consumption” and the “culture of segregation,” Dawson poses new and provocative questions about American culture and social history. Both an influential literary study and an absorbing historical read, Commerce in Color proves that—in America—advertising, publicity, and the development of the modern economy cannot be understood apart from the question of race.“A welcome addition to existing scholarship, Davis’s study of the intersection of racial thinking and the emergence of consumer culture makes connections very few scholars have considered.” —James Smethurst, University of MassachusettsJames C. Davis is Assistant Professor of English at Brooklyn College.

The Poverty Law Canon takes readers into the lives of the clients and lawyers who brought critical poverty law cases in the United States. These cases involved attempts to establish the right to basic necessities, as well as efforts to ensure dignified treatment of welfare recipients and to halt administrative attacks on federal program benefit levels. They also confronted government efforts to constrict access to justice, due process, and rights to counsel in child support and consumer cases, social welfare programs, and public housing. By exploring the personal narratives that gave rise to these lawsuits as well as the behind-the-scenes dynamics of the Supreme Court, the text locates these cases within the social dynamics that shaped the course of litigation.Noted legal scholars explain the legal precedent created by each case and set the case within its historical and political context in a way that will assist students and advocates in poverty-related disciplines in their understanding of the implications of these cases for contemporary public policy decisions in poverty programs. Whether the focus is on the clients, on the lawyers, or on the justices, the stories in The Poverty Law Canon illuminate the central legal themes in federal poverty law of the late 20th century and the role that racial and economic stereotyping plays in shaping American law.

Starting in the late 1970s, tens of thousands of American industrial workers lost jobs in factories and mines. Deindustrialization had dramatic effects on those workers and their communities, but its longterm effects continue to ripple through working-class culture. Economic restructuring changed the experience of work, disrupted people’s sense of self, reshaped local landscapes, and redefined community identities and expectations. Through it all, working-class writers have told stories that reflect the importance of memory and the struggle to imagine a different future. These stories make clear that the social costs of deindustrialization affect not only those who lost their jobs but also their children, their communities, and American culture.Through analysis of poetry, fiction, creative nonfiction, film, and drama, The Half-Life of Deindustrialization shows why people and communities cannot simply “get over” the losses of economic restructuring. The past provides inspiration and strength for working-class people, even as the contrast between past and present highlights what has been lost in the service economy. The memory of productive labor and stable, proud working-class communities shapes how people respond to contemporary economic, social, and political issues. These stories can help us understand the resentment, frustration, pride, and persistence of the American working class.

Of Vagabonds and Fellow Travelers recovers the history of the writers, artists, and intellectuals of the African diaspora who, witnessing a transition to an American-dominated capitalist world-system during the Cold War, offered searing critiques of burgeoning U.S. hegemony. Cedric R. Tolliver traces this history through an analysis of signal events and texts where African diaspora literary culture intersects with the wider cultural Cold War, from the First Congress of Black Writers and Artists organized by Francophone intellectuals in September 1956 to the reverberations among African American writers and activists to the assassination of Patrice Lumumba. Among Tolliver’s subjects are Caribbean writers Jacques Stephen Alexis, George Lamming, and Aimé Césaire, the black press writing of Alice Childress and Langston Hughes, and the ordeal of Paul Robeson, among other topics. The book’s final chapter highlights the international and domestic consequences of the cultural Cold War and discusses their lingering effects on our contemporary critical predicament.

In February 2018, 35,000 public school educators and staff walked off the job in West Virginia. More than 100,000 teachers in other states—both right-to-work states, like West Virginia, and those with a unionized workforce—followed them over the next year. From Arizona, Kentucky, and Oklahoma to Colorado and California, teachers announced to state legislators that not only their abysmal wages but the deplorable conditions of their work and the increasingly straitened circumstances of public education were unacceptable. These recent teacher walkouts affirm public education as a crucial public benefit and understand the rampant disinvestment in public education not simply as a local issue affecting teacher paychecks but also as a danger to communities and to democracy. Strike for the Common Good gathers together original essays, written by teachers involved in strikes nationwide, by students and parents who have supported them, by journalists who have covered these strikes in depth, and by outside analysts (academic and otherwise). Together, the essays consider the place of these strikes in the broader landscape of recent labor organizing and battles over public education, and attend to the largely female workforce and, often, largely non-white student population of America’s schools.

For much of the twentieth century, the iconic figure of the U.S. working class was a white, male industrial worker. But in the contemporary age of capitalist globalization new stories about work and workers are emerging to refashion this image. Living Labor examines these narratives and, in the process, offers an innovative reading of American fiction and film through the lens of precarious work. It argues that since the 1980s, novelists and filmmakers—including Russell Banks, Helena Víramontes, Karen Tei Yamashita, Francisco Goldman, David Riker, Ramin Bahrani, Clint Eastwood, Courtney Hunt, and Ryan Coogler—have chronicled the demise of the industrial proletariat, and the tentative and unfinished emergence of a new, much more diverse and perilously positioned working class. In bringing together stories of work that are also stories of race, ethnicity, gender, and colonialism, Living Labor challenges the often-assumed division between class and identity politics. Through the concept of living labor and its discussion of solidarity, the book reframes traditional notions of class, helping us understand both the challenges working people face and the possibilities for collective consciousness and action in the global present.Cover attribution: Allan Sekula, Shipwreck and worker, Istanbul,fromTITANIC’s wake, 1998/2000. Courtesy of the Allan Sekula Studio.

Dirty Work sheds light on the complex relationships between women employers and their household help in the early twentieth century through their representations in literature, including women’s magazines, conduct manuals, and particularly female-authored fiction. Domestic service brought together women from different classes, races, and ethnicities, and with it, a degree of social anxiety as upwardly mobile young women struggled to construct their identities in a changing world. The book focuses on the works of Charlotte Perkins Gilman, Edith Wharton, Gertrude Stein, Nella Larsen, Jessie Fauset, Anzia Yezierska, and Fannie Hurst and their various depictions of the maid/mistress relationship, revealing “a feminized and racialized brand of class hegemony.” Modern servants became configured as racial, hygienic, and social threats to the emergent ideal of the nuclear family, and played critical rhetorical roles in first-wave feminism and the New Negro movements. Ann Mattis reveals how U.S. domestic service was the political unconscious of cultural narratives that attempted to define modern domesticity and progressive femininity in monolithic terms.