In this remarkable memoir, Tung Pok Chin casts light on the largely hidden experience of those Chinese who immigrated to this country with false documents during the exclusion era. Although scholars have pieced together their history, first-person accounts are rare and fragmented; many of the so-called "Paper Sons" lived out their lives in silent fear of discovery. Chin's story speaks for  the many Chinese who worked in urban laundries and restaurants, but it also introduces an unusually articulate man's perspective on becoming Chinese American.

Chin's story begins in the early 1930s, when he followed the example of his father and countless other Chinese who bought documents that falsely identified them as children of Chinese Americans. Arriving in Boston and later moving to New York City, he worked and lived in laundries. Chin was determined to fit into American life and dedicated himself to learning English. But he also became an active member of key organizations -- a church, the Chinese Hand Laundrymen's Alliance, and the Chinese Consolidated Benevolent Association -- that anchored him in the community. A self-reflective and expressive man, Chin wrote poetry commenting on life in China and the hardships of being an immigrant in the United States. His work was regularly published in the China Daily News and brought him to the attention of the FBI, then intent on ferreting out communists and illegal immigrants. His vigorous narrative speaks to the day-to-day anxieties of living as a Paper Son as well as the more universal immigrant experiences of raising a family in modest circumstances and bridging cultures.

Historian K. Scott Wong introduces Chin's memoir, discussing the limitations on immigration from China and what is known about Exclusion-era Chinese American communities. Set in historical context, Tung Pok Chin's unique story offers and engaging account of a twentieth-century Paper Son.

Two decades into his career, Tom Limbeck, a New York City social worker, is leading an orderly, utterly prosaic life. He is, by self-description, “a poor man’s psychiatrist,” dedicated to helping his clients see things rationally, the better to confront the real world. He works in an office beset by budgetary difficulties and driven to solutions suited only to the bureaucracy. 

Tom’s life changes when he takes on the case of Michael, who is known as “Saint Francis of the Dumpster” for his peaceful disposition and practice of eating from garbage cans. Tom is at first haunted by, then obsessed with, this uncommunicative young man who holds a precious secret which causes him to risk his survival by living on the street. Tom is determined to discover and expose Michael’s secret (“his faith/his delusion”) as a necessary first step before any treatment can begin. Tom cannot reason his way out of his own obsession when he finds himself bending the rules, abandoning therapeutic norms and, before long, stalking his client. Parts of a World is a book about doubt—doubt, faith, and delusion. 

From its Broadway debut to the Oscar-winning film to countless amateur productions, West Side Story is nothing less than an American touchstone—an updating of Shakespeare vividly realized in a rapidly changing postwar New York.

That vision of postwar New York is at the heart of Julia L. Foulkes’s A Place for Us. A lifelong fan of the show, Foulkes became interested in its history when she made an unexpected discovery: scenes for the iconic film version were shot on the demolition site destined to become part of the Lincoln Center redevelopment area—a crowning jewel of postwar urban renewal. Foulkes interweaves the story of the creation of the musical and film with the remaking of the Upper West Side and the larger tale of New York’s postwar aspirations. Making unprecedented use of director and choreographer Jerome Robbins’s revelatory papers, she shows the crucial role played by the political commitments of Robbins and his fellow gay, Jewish collaborators, Leonard Bernstein and Arthur Laurents. Their determination to evoke life in New York as it was actually lived helped give West Side Story its unshakable sense of place even as it put forward a vision of a new, vigorous, determinedly multicultural American city.

Beautifully written and full of surprises for even the most dedicated West Side Story fan, A Place for Us is a revelatory new exploration of an American classic.
 

Who has ruled New York? Has power become more concentrated—or more widely and democratically dispersed—in American cities over the past one hundred years? How did New York come to have its modern physical and institutional shape? Focusing on the period when New York City was transformed from a nineteenth-century mercantile center to a modern metropolis, David C. Hammack offers an entirely new view of the history of power and public policy in the nation's largest urban community. Opening with a fresh and original interpretation of the metropolitan region's economic and social history between 1890 and 1910, Hammack goes on to show how various population groups used their economic, social, cultural, and political resources to shape the decisions that created the modern city. As New York grew in size and complexity, its economic and social interests were forced to compete and form alliances. No single group—not even the wealthy—was able to exercise continuing control of urban policy. Building on his account of this interplay among numerous elites, Hammack concludes with a new interpretation of the history of power in New York and other American cities between 1890 and 1950. This book makes a major contribution to the study of community power, of urban and regional history, and of public policy. And by taking the meaning and distribution of power as his theme, Hammack is able to reintegrate economic, social, and political history in a rich and comprehensive work.   "Lucid, instructive, and discerning....The most commanding analysis of its subject that I know." —John M. Blum, professor of history, Yale University "A powerful and persuasive treatment of a marvelous subject." —Nelson W. Polsby, professor of political science, University of California, Berkeley

With a population and budget exceeding that of many nations, a central position in the world's cultural and corporate networks, and enormous concentrations off wealth and poverty, New York City intensifies interactions among social forces that elsewhere may be hidden or safely separated. The essays in Power, Culture, and Place represent the first comprehensive program of research on this city in a quarter century. Focusing on three historical transformations—the mercantile, industrial, and postindustrial—several contributors explore economic growth and change and the social conflicts that accompanied them. Other papers suggest how popular culture, public space, and street life served as sources of order amidst conflict and disorder. Essays on politics and pluralism offer further reflections on how social tensions are harnessed in the framework of political participation. By examining the intersection of economics, culture, and politics in a shared spatial context, these multidisciplinary essays not only illuminate the City's fascinating and complex development, but also highlight the significance of a sense of "place" for social research. It has been said that cities gave birth to the social sciences, exemplifying and propagating dramatic social changes and proving ideal laboratories for the study of social patterns and their evolution. As John Mollenkopf and his colleagues argue, New York City remains the quintessential case in point.

The "Puerto-Rican Problem" in Postwar New York City presents the first comprehensive examination of the emergence, evolution, and consequences of the “Puerto Rican problem” campaign and narrative in New York City from 1945 to 1960. This notion originated in an intense public campaign that arose in reaction to the entry of Puerto Rican migrants to the city after 1945. The “problem” narrative influenced their incorporation in New York City and other regions of the United States where they settled. The anti-Puerto Rican campaign led to the formulation of public policies by the governments of Puerto Rico and New York City seeking to ease their incorporation in the city. Notions intrinsic to this narrative later entered American academia (like the “culture of poverty”) and American popular culture (e.g., West Side Story), which reproduced many of the stereotypes associated with Puerto Ricans at that time and shaped the way in which Puerto Ricans were studied and perceived by Americans.