Wall Street Women
Melissa S. Fisher Duke University Press, 2012 Library of Congress HD6060.6.F57 2012 | Dewey Decimal 332.64273082
Wall Street Women tells the story of the first generation of women to establish themselves as professionals on Wall Street. Since these women, who began their careers in the 1960s, faced blatant discrimination and barriers to advancement, they created formal and informal associations to bolster one another's careers. In this important historical ethnography, Melissa S. Fisher draws on fieldwork, archival research, and extensive interviews with a very successful cohort of first-generation Wall Street women. She describes their professional and political associations, most notably the Financial Women's Association of New York City and the Women's Campaign Fund, a bipartisan group formed to promote the election of pro-choice women.
Fisher charts the evolution of the women's careers, the growth of their political and economic clout, changes in their perspectives and the cultural climate on Wall Street, and their experiences of the 2008 financial collapse. While most of the pioneering subjects of Wall Street Women did not participate in the women's movement as it was happening in the 1960s and 1970s, Fisher argues that they did produce a "market feminism" which aligned liberal feminist ideals about meritocracy and gender equity with the logic of the market.
In postwar America, not everyone wanted to move out of the city and into the suburbs. For decades before World War II, New York's tenants had organized to secure renters' rights. After the war, tenant activists raised the stakes by challenging the newly-dominant ideal of homeownership in racially segregated suburbs. They insisted that renters as well as owners had rights to stable, well-maintained homes, and they proposed that racially diverse urban communities held a right to remain in place--a right that outweighed owners' rights to raise rents, redevelop properties, or exclude tenants of color. Further, the activists asserted that women could participate fully in the political arenas where these matters were decided.
Grounded in archival research and oral history, When Tenants Claimed the City: The Struggle for Citizenship in New York City Housing shows that New York City's tenant movement made a significant claim to citizenship rights that came to accrue, both ideologically and legally, to homeownership in postwar America. Roberta Gold emphasizes the centrality of housing to the racial and class reorganization of the city after the war; the prominent role of women within the tenant movement; and their fostering of a concept of "community rights" grounded in their experience of living together in heterogeneous urban neighborhoods.
White Boy: A Memoir
Mark D. Naison Temple University Press, 2002 Library of Congress E185.98.N35A3 2002 | Dewey Decimal 974.723
How does a Jewish boy who spent the bulk of his childhood on the basketball courts of Brooklyn wind up teaching in one of the city's pioneering black studies departments? Naison's odyssey begins as Brooklyn public schools respond to a new wave of Black migrants and Caribbean immigrants, and established residents flee to virtually all-white parts of the city or suburbs. Already alienated by his parents' stance on race issues and their ambitions for him, he has started on a separate ideological path by the time he enters Columbia College. Once he embarks on a long-term interracial relationship, becomes a member of SDS, focuses his historical work on black activists, and organizes community groups in the Bronx, his immersion in the radical politics of the 1960s has emerged as the center of his life. Determined to keep his ties to the Black community, even when the New Left splits along racial lines, Naison joined the fledgling African American studies program at Fordham, remarkable then as now for its commitment to interracial education.This memoir offers more than a participant's account of the New Left's racial dynamics; it eloquently speaks to the ways in which political commitments emerge from and are infused with the personal choices we all make.
America’s public parks are in a golden age. Hundreds of millions of dollars—both public and private—fund urban jewels like Manhattan’s Central Park. Keeping the polish on landmark parks and in neighborhood playgrounds alike means that the trash must be picked up, benches painted, equipment tested, and leaves raked. Bringing this often-invisible work into view, however, raises profound questions for citizens of cities.
In Who Cleans the Park? John Krinsky and Maud Simonet explain that the work of maintaining parks has intersected with broader trends in welfare reform, civic engagement, criminal justice, and the rise of public-private partnerships. Welfare-to-work trainees, volunteers, unionized city workers (sometimes working outside their official job descriptions), staff of nonprofit park “conservancies,” and people sentenced to community service are just a few of the groups who routinely maintain parks. With public services no longer being provided primarily by public workers, Krinsky and Simonet argue, the nature of public work must be reevaluated. Based on four years of fieldwork in New York City, Who Cleans the Park? looks at the transformation of public parks from the ground up. Beginning with studying changes in the workplace, progressing through the public-private partnerships that help maintain the parks, and culminating in an investigation of a park’s contribution to urban real-estate values, the book unearths a new urban order based on nonprofit partnerships and a rhetoric of responsible citizenship, which at the same time promotes unpaid work, reinforces workers’ domination at the workplace, and increases the value of park-side property. Who Cleans the Park? asks difficult questions about who benefits from public work, ultimately forcing us to think anew about the way we govern ourselves, with implications well beyond the five boroughs.
Whose Art Is It?
Jane Kramer Duke University Press, 1994 Library of Congress NB237.A35K73 1994 | Dewey Decimal 730.92
Whose Art Is It? is the story of sculptor John Ahearn, a white artist in a black and Hispanic neighborhood of the South Bronx, and of the people he cast for a series of public sculptures commissioned for an intersection outside a police station. Jane Kramer, telling this story, raises one of the most urgent questions of our time: How do we live in a society we share with people who are, often by their own definitions, "different?" Ahearn’s subjects were "not the best of the neighborhood." They were a junkie, a hustler, and a street kid. Their images sparked a controversy throughout the community—and New York itself—over issues of white representations of people of color and the appropriateness of particular images as civic art. The sculptures, cast in bronze and painted, were up for only five days before Ahearn removed them. This compelling narrative raises questions about community and public art policies, about stereotypes and multiculturalism. With wit, drama, sympathy, and circumspection, Kramer draws the reader into the multicultural debate, challenging our assumptions about art, image, and their relation to community. Her portrait of the South Bronx takes the argument to its grass roots—provocative, surprising in its contradictions and complexities and not at all easy to resolve. Accompanied by an introduction by Catharine R. Stimpson exploring the issues of artistic freedom, "political correctness," and multiculturalism, Whose Art Is It? is a lively and accessible introduction to the ongoing debate on representation and private expression in the public sphere.
South African artist William Kentridge’s drawings, films, books, installations, and collaborations with opera and theater companies have established him as a world-class star in contemporary art, media, and theater. In 2010, and again in 2013, he staged Dmitri Shostakovich’s The Nose at the Metropolitan Opera; after the premiere, the New York Times noted that “Kentridge, who directed this production, helped design the sets and created the videos that animate the staging, received the heartiest bravos.” In this book, Jane Taylor, Kentridge’s friend and frequent collaborator, invites us to take an extraordinary behind-the-scenes look at his work for the show.
Kentridge has long been admired for his unconventional use of conventional media to produce art that is stunning, evocative, and narratively powerful—and how he works is as important as what he creates. This book is more than just a simple record of The Nose. The opera serves as a springboard into a bracing conversation about how Kentridge’s methods serve his unique mode of expression as a narrative and political artist. Taylor draws on his etchings, sculptures, and drawings to render visible the communication that occurs between his mind and hand as he thinks through the activity of making. Beautifully illustrated in color, William Kentridge offers striking insights about one of the most innovative artists of our present moment.
Maggie Nelson provides the first extended consideration of the roles played by women in and around the New York School of poets, from the 1950s to the present, and offers unprecedented analyses of the work of Barbara Guest, Bernadette Mayer, Alice Notley, Eileen Myles, and abstract painter Joan Mitchell as well as a reconsideration of the work of many male New York School writers and artists from a feminist perspective.
An unheralded union battle offers new insight into identity politics.
In 1991, Columbia University's one thousand clerical workers launched a successful campaign for justice in their workplace. This diverse union-two-thirds black and Latina, three-fourths women-was committed to creating an inclusive movement organization and to fighting for all kinds of justice. How could they address the many race and gender injustices members faced, avoid schism, and maintain the unity needed to win? Sharon Kurtz, an experienced union activist and former clerical worker herself, was welcomed into the union and pursued these questions. Using this case study and secondary studies of sister clerical unions at Yale and Harvard, she examines the challenges and potential of identity politics in labor movements.
With the Columbia strike as a point of departure, Kurtz argues that identity politics are valuable for mobilizing groups, but often exclude members and their experiences of oppression. However, Kurtz believes that identity politics should not be abandoned as a component in building movements, but should be reframed--as multi-identity politics. In the end she shows an approach to organizing with great potential impact not only for labor unions but for any social movement.
Sharon Kurtz is associate professor of sociology at Suffolk University in Boston.
Aufbau—a German-language weekly, published in New York and circulated nationwide—was an essential platform for the generation of refugees from Hitler and the displaced people and concentration camp survivors who arrived in the United States after the war. The publication served to link thousands of readers looking for friends and loved ones in every part of the world. In its pages Aufbau focused on concerns that strongly impacted this community in the aftermath of World War II: anti-Semitism in the United States and in Europe, the ever-changing immigration and naturalization procedures, debates about the designation of Hitler refugees as enemy aliens, questions about punishment for the Holocaust and other Nazi crimes, the struggle for compensation and restitution, and the fight for a Jewish homeland. The book examines the columns and advertisements that chronicled the social and cultural life of that generation and maintained a detailed account of German-speaking cultures in exile. Peter Schrag is the first to present a definitive account of the influential publication that brought postwar refugees together and into the American mainstream.
New York has eight million deeply personal and unique stories of pain and perseverance from September 11, 2001. But the toll of tragedy is greater than the anguish it inflicts on individuals—communities suffer as well. In Wounded City, editor Nancy Foner brings together an accomplished group of scholars to document how a broad range of communities—residential, occupational, ethnic, and civic—were affected and changed by the World Trade Center attacks. Using survey data and in-depth ethnographies, the book offers sophisticated analysis and gives voice to the human experiences behind the summary statistics, revealing how the nature of these communities shaped their response to the disaster. Sociologists Philip Kasinitz, Gregory Smithsimon, and Binh Pok highlight the importance of physical space in the recovery process by comparing life after 9/11 in two neighborhoods close to ground zero—Tribeca, which is nestled close to the city's downtown, and Battery Park City, which is geographically and structurally separated from other sections of the city. Melanie Hildebrandt looks at how social solidarity changed in a predominantly Irish, middle class community that was struck twice with tragedy: the loss of many residents on 9/11 and a deadly plane crash two months later. Jennifer Bryan shows that in the face of hostility and hate crimes, many Arab Muslims in Jersey City stressed their adherence to traditional Islam. Contributor Karen Seeley interviews psychotherapists who faced the challenge of trying to help patients deal with a tragedy that they themselves were profoundly affected by. Economist Daniel Beunza and sociologist David Stark paint a picture of organizational resilience as they detail how securities traders weathered successive crises after evacuating their downtown office and moving temporarily to New Jersey. Francesca Polletta and Lesley Wood look at a hopeful side of a horrible tragedy: civic involvement in town meetings and public deliberations to discuss what should be done to rebuild at ground zero and help New Yorkers create a better future in the footprints of disaster. New Yorkers suffered tremendous losses on September 11, 2001: thousands of lives, billions of dollars, the symbols of their skyline, and their peace of mind. But not lost in the rubble of the World Trade Center were the residential, ethnic, occupational, and organizational communities that make up New York's rich mosaic. Wounded City gives voice to some of those communities, showing how they dealt with unforeseen circumstances that created or deepened divisions, yet at the same brought them together in suffering and hope. It is a unique look at the aftermath of a devastating day and the vitality of a diverse city. A Russell Sage Foundation September 11 Initiative Volume