A powerful collection of sixteen unsettling stories that delve into the hidden traumas of everyday life.
 
“Every home is a different story,” says one narrator in White Wolf while looking for her own childhood home. Every unhappy home is unhappy in its own way—and so are the stories in Krisztina Tóth’s new volume, in which the writer’s voice is darker and more radical than ever.

These are stories of trauma, oppression, submission, exclusion, stigma, and violence. Many of them tell of childhood abuses, unpunished crimes, lost children—suffering that goes without punishment, apology, and forgiveness. Her mostly nameless heroes are everywhere around us, stepping into the same elevator, running behind us on the staircase. Many of them are so wounded or tormented that they behave in strange ways. In White Wolf, Tóth observes these characters with acute sensitivity and attentiveness to detail.

While music as labor feeds into the capitalist cultural industries, this book proves that in this sector informality greatly permeates and governs power relations and the allocations of resources. The significant level of informal involvement of the household in the creative and reproductive processes is also explored. It is particularly in the semiperipheral context that the relationship between home-based work and paid work is unbalanced: Emília Barna's field data are from Hungary and range from 2018 to 2021. The same context also implies considerable involvement of the state and its subsidies, as well as the important role of gatekeepers’ political capital.

This book embraces the widest possible range of workers in the music industry. It deals with all music genres from high-flying to commercial and observes various workers in the production chain beyond musicians. Niche segments of the sector, such as YouTube-based commercial hip hop, are given special treatment. Using a variety of empirical research methods, the study examines the trends as workers are pushed towards digital entrepreneurship and platform work, on the one hand, and live performance, on the other. The focus on domestic work and informality offers a feminist analysis of work in music. This approach sheds light on gendered divisions of labor and forms of (self-)exploitation that usually remain invisible. The book proposes a new model of cultural autonomy that takes account of the semiperipheral relationship of music industry workers and institutions to both the market and the state.