"A fascinating and authoritative account of American social history since 1960 as viewed through the prism of government statistics....[Farley] uses publicly available data, straight forward methods, and modest...language, to provide more information and insight about recent social trends than any other volume in print." —American Journal of Sociology "A brilliant piece of work. Farley is absolutely masterful at taking tens of thousands of national survey statistics and weaving from them a fascinating and beautifully illustrated tapestry of who we are." —Barry Bluestone, Frank L. Boyden Professor of Political Economy, University of Massachusetts, Boston The New American Reality presents a compelling portrait of an America strikingly different from what it was just forty years ago.Gone is the idealized vision of a two-parent, father-supported Ozzie and Harriet society. In its place is an America of varied races andethnic backgrounds, where families take on many forms and mothers frequently work outside the home. Drawing on a definitive analysis of the past four U.S. censuses, author Reynolds Farley reveals a country that offers new opportunities for a broader spectrum of people, while at the same time generating frustration and apprehension for many who once thought their futures secure. The trends that have so transformed the nation were kindled in the 1960s, a watershed period during which many Americans redefined their attitudes toward the rights of women and blacks. The New American Reality describes the activism, federal policymaking, and legal victories that eliminated overtracial and sexual discrimination. But along with open doors came new challenges. Divorce and out-of-wedlock births grew commonplace, forcing more women to raise children alone and—despite improved wages—increasing their chances of falling into poverty. Residential segregation, inadequate schooling, and a particularly high ratio of female-headed families severely impaired the economic progress of African Americans, many of whom were left behind in declining central cities as businesses migrated to suburbs. A new generation of immigrants from many nations joined the ranks of those working to support families and improve their prospects, and rapidly transformed the nation's ethnic composition. In the 1970s, unprecedented economic restructuring on a global scale created unexpected setbacks for the middle class. The long era of postwar prosperity ended as the nation's dominant industry shifted from manufacturing to services, competition from foreign producers increased, interest rates rose, and a new emphasis on technology and cost-cutting created a demand for more sophisticated skills in the workplace. The economic recovery of the 1980s generated greater prosperity for the well-educated and highly skilled, and created many low paying jobs, but offered little to remedy the stagnant and declining wages of the middle class. Income inequalitybecame a defining feature in the economic life of America: overall, the rich got richer while the poor and middle class found it increasingly difficult to meet their financial demands. The New American Reality reports some good news about America. Our lives are longer and healthier, the elderly are much better off than ever before, consumer spending power has increased, and minorities and women have many more opportunities. But this book does not shy away from the significant problems facing large portions of the population, and provides a valuable perspective on efforts to remedy them. The New American Reality offers the information necessary to understandthe critical trends affecting America today, from how we earn a living to how and when we form families, where we live, and whether or not we will continue to prosper. A Volume in the Russell Sage Founadtion Census Series

This second volume of <i>New Italian Migrations to the United States</i> explores the evolution of art and cultural expressions created by and about Italian immigrants and their descendants since 1945. The essays range from an Italian-language radio program that broadcast intimate messages from family members in Italy to the role of immigrant cookbook writers in crafting a fashionable Italian food culture. Other works look at how exoticized actresses like Sophia Loren and Pier Angeli helped shape a glamorous Italian style out of images of desperate postwar poverty; overlooked forms of brain drain; the connections between countries old and new in the works of Michigan self-taught artist Silvio Barile; and folk revival performer Alessandra Belloni's reinterpretation of tarantella dance and music for Italian American women. In the afterword, Anthony Julian Tamburri discusses the nomenclature ascribed to Italian American creative writers living in Italy and the United States.

<p>Contributors: John Allan Cicala, Simone Cinotto, Teresa Fiore, Incoronata (Nadia) Inserra, Laura E. Ruberto, Joseph Sciorra, and Anthony Julian Tamburri.

Cultural changes over the past two decades have led to a proliferation of new social movements in Europe and the United States. New social movements such as ecology, peace, ethnicity, New Age philosophies, alternative medicine, and gender and sexual identity are among those that are emerging to challenge traditional categories in social movement theory. Synthesizing classic and modern perspectives the contributors help to redefine the field of social movements and advance an understanding of them through cross-cultural research, comparison with older movements, and an examination of the dimensions of identity—individual, collective, and melding of the two.

To many, Newark seems a profound symbol of postwar liberalism’s failings: an impoverished, deeply divided city where commitments to integration and widespread economic security went up in flames during the 1967 riots. While it’s true that these failings shaped Newark’s postwar landscape and economy, as Mark Krasovic shows, that is far from the whole story.

The Newark Frontier shows how, during the Great Society, urban liberalism adapted and grew, defining itself less by centralized programs and ideals than by administrative innovation and the small-scale, personal interactions generated by community action programs, investigative commissions, and police-community relations projects. Paying particular attention to the fine-grained experiences of Newark residents, Krasovic reveals that this liberalism was rooted in an ethic of experimentation and local knowledge. He illustrates this with stories of innovation within government offices, the dynamic encounters between local activists and state agencies, and the unlikely alliances among nominal enemies. Krasovic makes clear that postwar liberalism’s eventual fate had as much to do with the experiments waged in Newark as it did with the violence that rocked the city in the summer of 1967.

How did tourism gain a central role in the postwar American Rustbelt city? And how did tourism development reshape the meaning and function of these cities? These are the questions at the heart of Aaron Cowan’s groundbreaking book, A Nice Place to Visit. 

Cowan provides an insightful, comparative look at the historical development of Cincinnati, St. Louis, Pittsburgh, and Baltimore in the post–World War II period to show how urban tourism provided a potential solution to the economic woes of deindustrialization. A Nice Place to Visit chronicles the visions of urban leaders who planned hotels, convention centers, stadiums, and festival marketplaces to remake these cities as tourist destinations. Cowan also addresses the ever-present tensions between tourist development and the needs and demands of residents in urban communities.

A Nice Place to Visit charts how these Rustbelt cities adapted to urban decline and struggled to meet the challenge of becoming an appealing place to visit, as well as good and just communities in which to live.

Fronted by one of the world’s most iconic doors, 10 Downing Street is the home and office of the British Prime Minister and the heart of British politics. Steeped in both political and architectural history, this famed address was originally designed in the late seventeenth century as little more than a place of residence, with no foresight of the political significance the location would come to hold. As its role evolved, 10 Downing Street, now known simply as ‘Number 10,’ has required constant adaptation in order to accommodate the changing requirements of the premiership. 
Written by Number 10’s first ever ‘Researcher in Residence,’ with unprecedented access to people and papers, No. 10: The Geography of Power at Downing Street sheds new light on unexplored aspects of Prime Ministers’ lives. Jack Brown tells the story of the intimately entwined relationships between the house and its post-war residents, telling how each occupant’s use and modification of the building reveals their own values and approaches to the office of Prime Minister. The book reveals how and why Prime Ministers have stamped their personalities and philosophies upon Number 10 and how the building has directly affected the ability of some Prime Ministers to perform the role. Both fascinating and extremely revealing, No. 10 offers an intimate account of British political power and the building at its core. It is essential reading for anyone interested in the nature and history of British politics.  

“For a long time, it was not clear if I would become a writer or an artist,” says Anselm Kiefer, whose paintings and sculptures have made him one of the most significant and influential artists of our time. Since he was awarded the Peace Prize by the German Book Trade in 2008, his essays, speeches, and lectures have gradually received more attention, but until now his diary accounts have been almost completely unknown. The power in Kiefer’s images, however, is rivaled by his writings on nature and history, literature and antiquity, and mysticism and mythology.

The first volume of Notebooks spans the years 1998-1999 and traces the origins and creative process of Kiefer’s visual works during this period. In this volume, Kiefer returns constantly to his touchstones: sixteenth-century alchemist Robert Fludd, German romantic poet Novalis, Martin Heidegger, Ingeborg Bachmann, Robert Musil, and many other writers and thinkers. The entries reveal the process by which his artworks are informed by his reading—and vice versa—and track the development of the works he created in the late 1990s. Translated into English for the first time by Tess Lewis, the diaries reveal Kiefer’s strong affinity for language and let readers witness the process of thoughts, experiences, and adventures slowly transcending the limits of art, achieving meaning in and beyond their medium.
 
Praise for Kiefer

 “His works recall, in this sense, the grand tradition of history painting, with its notion about the elevated role of art in society, except that they do not presume moral certainty. What makes Kiefer’s work so convincing . . . is precisely its ambiguity and self-doubt, its rejection of easy solutions, historical amnesia, and transcendence.”—New York Times

“Wordiness for Kiefer is painterliness. The library and the gallery, the book and the frame inseparable, even interchangeable, in his monumental archive of human memory. Not since Picasso’s Guernica have pictures demanded so urgently that we studiously reflect and recollect in their presence.”—Simon Schama

Daniel Meadows is a pioneer of contemporary British documentary practice. His photographs and audio recordings, made over the course of forty-five years, uniquely capture the life of England’s “great ordinary.” He has fashioned from his many encounters a nation’s story, challenging the status quo by working collaboratively.

This book includes important work from Meadows’s groundbreaking projects, drawing on the archives now held at the Bodleian Library. It follows the maverick documentarian as he ran a free portrait studio in Manchester’s Moss Side in 1972 and then traveled 10,000 miles to make a national portrait from his converted double-decker, the Free Photographic Omnibus, a project he revisited a quarter-of-a-century later. The book goes on to show how, at the turn of the millennium, Meadows adopted new “kitchen table” technologies to make digital stories, which he dubbed “multimedia sonnets from the people.” Through the unique voices of his subjects, Meadows has made and continues to make moving and insightful commentaries on life in Britain.