The authors employ the techniques of oral history to penetrate the nether world of the drug user, giving us an engrossing portrait of life in the drug subculture during the "classic" era of strict narcotic control.
Praise for the hardcover edition:
"A momentous book which I feel is destined to become a classic in the category of scholarly narcotic books."
—Claude Brown, author of the bestseller, Manchild in the Promised Land.
"The drug literature is filled with the stereotyped opinions of non-addicted, middle-class pundits who have had little direct contact with addicts. These stories are reality. Narcotic addicts of the inner cities are both tough and gentle, deceptive when necessary and yet often generous--above all, shrewd judges of character. While judging them, the clinician is also being judged."
—Vincent P. Dole, M.D., The Rockefeller Institute.
"What was it like to be a narcotic addict during the Anslinger era? No book will probably ever appear that gives a better picture than this one. . . . a singularly readable and informative work on a subject ordinarily buried in clichés and stereotypes."
—Donald W. Goodwin, Journal of the American Medical Association
" . . . an important contribution to the growing body of literature that attempts to more clearly define the nature of drug addiction. . . . [This book] will appeal to a diverse audience. Academicians, politicians, and the general reader will find this approach to drug addiction extremely beneficial, insightful, and instructive. . . . Without qualification anyone wishing to acquire a better understanding of drug addicts and addiction will benefit from reading this book."
—John C. McWilliams, Pennsylvania Magazine of History and Biography
"This study has much to say to a general audience, as well as those involved in drug control."
"The authors' comments are perceptive and the interviews make interesting reading."
—John Duffy, Journal of American History
"This book adds a vital and often compelling human dimension to the story of drug use and law enforcement. The material will be of great value to other specialists, such as those interested in the history of organized crime and of outsiders in general."
—H. Wayne Morgan, Journal of Southern History
"This book represents a significant and valuable addition to the contemporary substance abuse literature. . . . this book presents findings from a novel and remarkably imaginative research approach in a cogent and exceptionally informative manner."
—William M. Harvey, Journal of Psychoactive Drugs
"This is a good and important book filled with new information containing provocative elements usually brought forth through the touching details of personal experience. . . . There isn't a recollection which isn't of intrinsic value and many point to issues hardly ever broached in more conventional studies."
—Alan Block, Journal of Social History
When the terrorist attacks struck New York City on September 11, 2001, boat operators and waterfront workers quickly realized that they had the skills, the equipment, and the opportunity to take definite, immediate action in responding to the most significant destructive event in the United States in decades. For many of them, they were “doing what needed to be done.”
American Dunkirk shows how people, many of whom were volunteers, mobilized rescue efforts in various improvised and spontaneous ways on that fateful date. Disaster experts James Kendra and Tricia Wachtendorf examine the efforts through fieldwork and interviews with many of the participants to understand the evacuation and its larger implications for the entire practice of disaster management.
The authors ultimately explore how people—as individuals, groups, and formal organizations—pull together to respond to and recover from startling, destructive events. American Dunkirk asks, What can these people and lessons teach us about not only surviving but thriving in the face of calamity?
Dissecting twenty years of educational politics in our nation’s largest cities, American School Reform offers one of the clearest assessments of school reform as it has played out in our recent history. Joseph P. McDonald and his colleagues evaluate the half-billion-dollar Annenberg Challenge—launched in 1994—alongside other large-scale reform efforts that have taken place in New York, Chicago, Philadelphia, and the San Francisco Bay Area. They look deeply at what school reform really is, how it works, how it fails, and what differences it can make nonetheless.
McDonald and his colleagues lay out several interrelated ideas in what they call a theory of action space. Frequently education policy gets so ambitious that implementing it becomes a near impossibility. Action space, however, is what takes shape when talented educators, leaders, and reformers guide the social capital of civic leaders and the financial capital of governments, foundations, corporations, and other backers toward true results. Exploring these extraordinary collaborations through their lifespans and their influences on future efforts, the authors provide political hope—that reform efforts can work, and that our schools can be made better.
America’s Japan and Japan’s Performing Arts studies the images and myths that have shaped the reception of Japan-related theater, music, and dance in the United States since the 1950s. Soon after World War II, visits by Japanese performing artists to the United States emerged as a significant category of American cultural-exchange initiatives aimed at helping establish and build friendly ties with Japan. Barbara E. Thornbury explores how “Japan” and “Japanese culture” have been constructed, reconstructed, and transformed in response to the hundreds of productions that have taken place over the past sixty years in New York, the main entry point and defining cultural nexus in the United States for the global touring market in the performing arts. The author’s transdisciplinary approach makes the book appealing to those in the performing arts studies, Japanese studies, and cultural studies.
The Harlem Renaissance was a watershed moment for racial uplift, poetic innovation, sexual liberation, and female empowerment. Aphrodite’s Daughters introduces us to three amazing women who were at the forefront of all these developments, poetic iconoclasts who pioneered new and candidly erotic forms of female self-expression.
Maureen Honey paints a vivid portrait of three African American women—Angelina Weld Grimké, Gwendolyn B. Bennett, and Mae V. Cowdery—who came from very different backgrounds but converged in late 1920s Harlem to leave a major mark on the literary landscape. She examines the varied ways these poets articulated female sexual desire, ranging from Grimké’s invocation of a Sapphic goddess figure to Cowdery’s frank depiction of bisexual erotics to Bennett’s risky exploration of the borders between sexual pleasure and pain. Yet Honey also considers how they were united in their commitment to the female body as a primary source of meaning, strength, and transcendence.
The product of extensive archival research, Aphrodite’s Daughters draws from Grimké, Bennett, and Cowdery’s published and unpublished poetry, along with rare periodicals and biographical materials, to immerse us in the lives of these remarkable women and the world in which they lived. It thus not only shows us how their artistic contributions and cultural interventions were vital to their own era, but also demonstrates how the poetic heart of their work keeps on beating.
Owney Madden lived a seemingly quiet life for decades in the resort town of Hot Springs, Arkansas, while he was actually helping some of America's most notorious gangsters rule a vast criminal empire. In 1987, Graham Nown first told Madden's story in his book The English Godfather, in which he traced Madden's boyhood in England, his immigration to New York City, and his rise to mob boss. Nown also uncovered a love story involving Madden and the daughter of the Hot Springs postmaster. Before his arrival in Hot Springs, Madden was one of the most powerful gangsters in New York City and former owner of the famous Cotton Club in Harlem. The story of his life shows us a world where people can break the law without ever getting caught, and where criminality is so entwined in government and society that one might wonder what is legality and what isn't.
The New York City subway, considered an engineering feat and a work of art, has kindled the imagination of millions. Art and the Subway explores artistic production surrounding the world's most famous public transportation system, from just before its opening in 1904 to the present day. Using a stunning array of images, Tracy Fitzpatrick offers perspectives on ways in which the subway has been used as a subject about which to make art, as a site within which to make art, and as a canvas upon which to make art.
Fitzpatrick captures the emotions of artists and riders alike, as she explores paintings, photographs, performance art, graffiti, and public art by artists such as Walker Evans, Bruce Davidson, DONDI, Keith Haring, Yayoi Kusama, Jacob Lawrence, Reginald Marsh, Elizabeth Murray, and many others. She also considers representations of the subway in film, on song sheet covers, and in illustration. By examining the cultural, technological, and social contexts for these creative interpretations, Fitzpatrick illuminates in fresh ways the contradictions and harmonies between public and private space.
Featuring 17 color plates and 80 black-and-white images, Art and the Subway takes readers on a fascinating ride through the visual history of one of the twentieth century's greatest urban planning endeavors as it grew, changed form, and reinvented itself with passion and vitality.
The term Neo-Dada surfaced in New York in the late 1950s and was used to characterize young artists like Robert Rauschenberg and Jasper Johns whose art appeared at odds with the serious emotional and painterly interests of the then-dominant movement, Abstract Expressionism. Neo-Dada quickly became the word of choice in the early 1960s to designate experimental art, including assemblage, performance, Pop art, and nascent forms of minimal and conceptual art.
An Audience of Artists turns this time line for the postwar New York art world on its head, presenting a new pedigree for these artistic movements. Drawing on an array of previously unpublished material, Catherine A. Craft reveals that Neo-Dada, far from being a reaction to Abstract Expressionism, actually originated at the heart of that movement’s concerns about viewers, originality, and artists’ debts to the past and one another. Furthermore, she argues, the original Dada movement was not incompatible with Abstract Expressionism. In fact, Dada provided a vital historical reference for artists and critics seeking to come to terms with the radical departure from tradition that Abstract Expressionism seemed to represent. Tracing the activities of artists such as Robert Motherwell, Barnett Newman, and Jackson Pollock alongside Marcel Duchamp’s renewed embrace of Dada in the late 1940s, Craft composes a subtle exploration of the challenges facing artists trying to work in the wake of a destructive world war and the paintings, objects, writings, and installations that resulted from their efforts.
Providing the first examination of the roots of the Neo-Dada phenomenon, this groundbreaking study significantly reassesses the histories of these three movements and offers new ways of understanding the broader issues related to the development of modern art.