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William Darby gives us a comprehensive and (mostly) sympathetic reading of over fifty novels and a few movies from the 1950s. He examines titles such as Mandingo, The Invisible Man, I the Jury, Catcher in the Rye, Battle Cry, The Caine Mutiny, The Revolt of Mamie Stover, The Manchurian Candidate, Hawaii, The Bramble Bush, Peyton Place, Ten North Frederick, A Stone for Danny Fisher, The Bad Seed, Not as a Stranger, The Blackboard Jungle, From Here to Eternity, and Compulsion.

Since the nineteenth century, ideas centered on the individual, on Emersonian self-reliance, and on the right of the individual to the pursuit of happiness have had a tremendous presence in the United States—and even more so after the Reagan era. But has this presence been for the good of all? In Negative Liberties Cyrus R. K. Patell revises important ideas in the debate about individualism and the political theory of liberalism. He does so by adding two new voices to the current discussion—Toni Morrison and Thomas Pynchon—to examine the different ways in which their writings embody, engage, and critique the official narrative generated by U.S. liberal ideology.
Pynchon and Morrison reveal the official narrative of individualism as encompassing a complex structure of contradiction held in abeyance. This narrative imagines that the goals of the individual are not at odds with the goals of the family or society and in fact obscures the existence of an unholy truce between individual liberty and forms of oppression. By bringing these two fiction writers into a discourse dominated by Ralph Waldo Emerson, Isaiah Berlin, John Rawls, George Kateb, Robert Bellah, and Michael Sandel, Patell unmasks the ways in which contemporary U.S. culture has not fully shed the oppressive patterns of reasoning handed down by the slaveholding culture from which American individualism emerged.
With its interdisciplinary approach, Negative Liberties will appeal to students and scholars of American literature, culture, sociology, and politics.

Since the late 1960s, the Basque insurgent organization ETA (Euzkadi ta Askatasuna, or Basque Homeland and Freedom) has been engaged in a violent struggle against the Spanish state in an effort to gain the independence of the Basque Country. ETA violence has led to the death of hundreds of people, making the organization the most violent insurgent group in Europe. Between 1975 and 1988, nearly thirty attempts to negotiate an end to violence, with a few limited exceptions, all ended in failure. This important book examines why the efforts to negotiate have failed and makes suggestions on how to improve the chances for successful discussion in the future. Although Clark does not disprove the conventional wisdom that negotiation with terrorists is a bad idea, he does begin from the opposing point of view that there may be some positive values to be realized from such negotiation.Negotiating with ETA describes the various factions that are interested in the outcome of such negotiations and the Spanish antiterrorist policy throughout the period under examination. The book also recounts the early attempts to negotiate, the first attempt at "social reintegration," various attempts by the Basque Government to get negotiations started, negotiation efforts under the Spanish socialist government of Felipe González, and the lengthy negotiations that took place in Algeria. A wide range of scholars and specialists will find this book valuable, including those interested in contemporary Spanish politics, ethnic nationalism, Basque affairs, the problem of terrorism, and conflict resolution.

An analysis of the ideas of Booker T. Washington, Frederick Douglass, W. E. B. DuBois, and other black leaders from the turn of the century

Neither Donkey nor Horse tells the story of how Chinese medicine was transformed from the antithesis of modernity in the early twentieth century into a potent symbol of and vehicle for China’s exploration of its own modernity half a century later. Instead of viewing this transition as derivative of the political history of modern China, Sean Hsiang-lin Lei argues that China’s medical history had a life of its own, one that at times directly influenced the ideological struggle over the meaning of China’s modernity and the Chinese state.
           
Far from being a remnant of China’s premodern past, Chinese medicine in the twentieth century coevolved with Western medicine and the Nationalist state, undergoing a profound transformation—institutionally, epistemologically, and materially—that resulted in the creation of a modern Chinese medicine. This new medicine was derided as “neither donkey nor horse” because it necessarily betrayed both of the parental traditions and therefore was doomed to fail. Yet this hybrid medicine survived, through self-innovation and negotiation, thus challenging the conception of modernity that rejected the possibility of productive crossbreeding between the modern and the traditional.
           
By exploring the production of modern Chinese medicine and China’s modernity in tandem, Lei offers both a political history of medicine and a medical history of the Chinese state.

Bringing together noted scholars in the fields of literary, cultural, gender, and race studies, this edited volume challenges us to reconsider our understanding of the Cold War, revealing it to be a global phenomenon rather than just a binary conflict between U.S. and Soviet forces. Shining a spotlight on writers from the war’s numerous fronts and applying lenses of race, gender, and decolonization, the essayists present several new angles from which to view the tense global showdown that lasted roughly a half-century. Ultimately, they reframe the Cold War not merely as a divide between the Soviet Union and the United States, but between nations rich and poor, and mostly white and mostly not. By emphasizing the global dimensions of the Cold War, this innovative collection reveals emergent forms of post-WWII empire that continue to shape our world today, thereby raising the question of whether the Cold War has ever fully ended.

Fernando A. Blanco’s Neoliberal Bonds: Undoing Memory in Chilean Art and Literature analyzes the sociocultural processes that have reshaped subjectivities in post-Pinochet Chile. By creatively exploring the intersections among memory, gender, post-trauma, sociology, psychoanalysis, and neoliberalism, Neoliberal Bonds draws on Lacan’s notion of perversion to critique the subjective fantasies that people create to compensate for the loss of the social bond in the wake of a dictatorship founded on individualism, competition, and privatization.
 
Neoliberal Bonds vehemently criticizes how Chile’s transition governments, through a series of political and legal maneuvers, created the state’s official memory narratives. Blanco argues that the state, the media, academia, and the neoliberal market colluded to colonize and mediatize the “memory scene.” In contrast to these official narratives, Neoliberal Bonds analyzes alternative memory accounts within the visual arts and literature that push back against the state, its institutions, and its economic allies. These alternative memory narratives highlight the ontological fracture of the new neoliberal subjects; they also bring into sharp relief the urgent need for democratization that still poses a challenge to Chile a quarter century after its “transition to democracy” began.

The neoliberal philosophy of fiscal austerity aligned with reduced regulation has transformed Chicago. As pursued by mayor Rahm Emanuel and his predecessor Richard M. Daley, neoliberalism led officials to privatize everything from parking meters to schools, gut regulations and social services, and promote gentrification wherever possible. The essayists in Neoliberal Chicago explore an essential question: how does neoliberalism work on the ground in today's Chicago? Contextual chapters explore race relations, physical development, and why Chicago embraced neoliberalism. Other contributors delve into aspects of the neoliberal vision, neoliberalism's impact on three iconic city spaces, and how events like the 2008 foreclosure crisis and the bid to attract the Olympic Games reveal the workings of neoliberalism. Contributors: Stephen Alexander, Larry Bennett, Michael Bennett, Carrie Breitbach, Sean Dinces, Kenneth Fidel, Roberta Garner, Euan Hague, Black Hawk Hancock, Christopher Lamberti, Michael J. Lorr, Martha Martinez, Brendan McQuade, Alex G. Papadopoulos, Rajiv Shah, Costas Spirou, Carolina Sternberg, and Yue Zhang.

B. J. Habibie may have served the shortest term of any of Indonesia’s presidents, but his push for decentralization would affect the country for decades. Habibie came to power in 1998 and immediately set to work restructuring the government. He gave local districts more power, allowing them to elect their own leaders and create their own bylaws. After years of authoritarian rule, these reforms were meant to return power to the people. But that led to local governments engaging in bureaucratic and political conflict with the central government over control of valuable natural resources and the distribution of the revenue they generated. Decentralization became the most important political economic development in Indonesia of the past thirty years.
Networked Business and Politics in Decentralizing Indonesia evaluates three cases of deep-seated political conflict and intrigue including central government, local governments, and multinational companies. It looks at how the structure of the national political economy has changed as the result of local politicians becoming involved in disputes with the national government over control of natural resources. It also analyzes how these changes will affect the distribution of wealth in the country as well as Indonesia’s evolving democratic politics and modes of governance.

Networks of Modernism offers a new understanding of American modernist aesthetics and introduces the idea that networks were central to how American moderns thought about their culture in their dramatically changing milieu. While conventional wisdom holds that the network rose to prominence in the 1980s and 1990s in the context of information technologies, digitization is only the most recent manifestation of networks in intellectual history. Crucial developments in modern America provide another archive of network discourses well before the advent of the digital age. The rise of the railroad recast the American landscape as an assortment of interconnected hubs. The advent of broadcast radio created a decentralized audience that was at once the medium’s strength and its weakness. The steady and intertwined advances of urbanization and immigration demanded the reconceptualization of community and ethnic identity to replace the failing “melting pot” metaphor for the nation. Indeed, the signal developments of the modern era eroded social stratification and reorganized American society in a nodal, decentralized, and interpenetrating form—what today we would label a “distributed” network that is fully flattened and holds no clustered centers of power.

In this ferment of social upheaval and technological change, the moderns found what we would today term “the network,” though they did not have the vocabulary for it that we do now, to be a versatile model for their aesthetic experiments in representing social space and social relations. Whether they used the figuration of the network as a kind of formal experiment to negotiate the tensions between dispersal and unity, fragment and totality, or took the network as a subject in itself, as seen when dealing with crowds or public spaces, the network was a way for writers and artists to conceptualize and explore their rapidly changing society. Through readings of the works of Randolph Bourne, Jean Toomer, Anita Loos, John Dos Passos, and Nathanael West, Networks of Modernism positions the network as the defining figure of American modernist aesthetics and explores its use as a conceptual tool used to think through the rapid changes in American society.

As the United States rushed toward industrial and technological modernization in the late nineteenth century, people worried that the workplace had become too competitive, the economy too turbulent, domestic chores too taxing, while new machines had created a fast-paced environment that sickened the nation. Physicians testified that, without a doubt, modern civilization was causing a host of ills—everything from irritability to insomnia, lethargy to weight loss, anxiety to lack of ambition, and indigestion to impotence. They called this condition neurasthenia.

Neurasthenic Nation investigates how the concept of neurasthenia helped doctors and patients, men and women, and advertisers and consumers negotiate changes commonly associated with “modernity.” Combining a survey of medical and popular literature on neurasthenia with original research into rare archives of personal letters, patient records, and corporate files, David Schuster charts the emergence of a “neurasthenic nation”—a place where people saw their personal health as inextricably tied to the pitfalls and possibilities of a changing world.

Never Say I reveals the centrality of representations of sexuality, and particularly same-sex sexual relations, to the evolution of literary prose forms in twentieth-century France. Rethinking the social and literary innovation of works by Marcel Proust, André Gide, and Colette, Michael Lucey considers these writers’ production of a first-person voice in which matters related to same-sex sexuality could be spoken of. He shows how their writings and careers took on political and social import in part through the contribution they made to the representation of social groups that were only slowly coming to be publicly recognized. Proust, Gide, and Colette helped create persons and characters, points of view, and narrative practices from which to speak and write about, for, or as people attracted to those of the same sex.

Considering novels along with journalism, theatrical performances, correspondences, and face-to-face encounters, Lucey focuses on the interlocking social and formal dimensions of using the first person. He argues for understanding the first person not just as a grammatical category but also as a collectively produced social artifact, demonstrating that Proust’s, Gide’s, and Colette’s use of the first person involved a social process of assuming the authority to speak about certain issues, or on behalf of certain people. Lucey reveals these three writers as both practitioners and theorists of the first person; he traces how, when they figured themselves or other first persons in certain statements regarding same-sex identity, they self-consciously called attention to the creative effort involved in doing so.

“Chicago is a tale of two cities,” headlines declare. This narrative has been gaining steam alongside reports of growing economic divisions and diverging outlooks on the future of the city. Yet to keen observers of the Second City, this is nothing new. Those who truly know Chicago know that for decades—even centuries—the city has been defined by duality, possibly since the Great Fire scorched a visible line between the rubble and the saved. For writers like Alex Kotlowitz, the contradictions are what make Chicago. And it is these contradictions that form the heart of Never a City So Real.

The book is a tour of the people of Chicago, those who have been Kotlowitz’s guide into this city’s – and by inference, this country’s – heart.  Chicago, after all, is America’s city. Kotlowitz introduces us to the owner of a West Side soul food restaurant who believes in second chances,  a steelworker turned history teacher, the “Diego Rivera of the projects,” and the lawyers and defendants who populate Chicago’s Criminal Courts Building.  These empathic, intimate stories chronicle the city’s soul, its lifeblood.

This new edition features a new afterword from the author, which examines the state of the city today as seen from the double-paned windows of a pawnshop. Ultimately, Never a City So Real is a love letter to Chicago, a place that Kotlowitz describes as “a place that can tie me up in knots but a place that has been my muse, my friend, my joy.”

The most up-to-date anthology of contemporary Chinese poetry, translated by American poets and edited by the executive editor of the bilingual literary journal Poetry East West. Showcasing the achievement of Chinese poetry in the last twenty years, a time of tremendous literary ferment, this collection focuses on a diversity of exciting poets from the mainland, highlighting Duo Duo (laureate of the 2010 Neustadt International Prize for Literature) and Liao Yiwu (recipient of 2012 Peace Prize of the German Book Trade organization) along with not yet well-known but brilliant poets such as Zang Di and Xiao Kaiyu and younger poets Jiang Tao and Lü Yue. The anthology includes interviews with the poets and a fascinating survey of their opinions on “Ten Favorite Chinese poets” and “Ten Best-Known Western poets in China.” Featured poets: Duo Duo, Wang Xiaoni, Bai Hua, Zhang Shuguang, Sun Wenbo, Wang Jiaxin, Liao Yiwu, Song Lin, Xiao Kaiyu, Lü De’an, Feng Yan, Yang Xiaobin, Zang Di, Ya Shi, Mai Mang, Lan Lan, Jiang Tao, Jiang Hao, Lü Yue, Hu Xudong, Yi Lai, Jiang Li, Zheng Xiaoqiong, Qiu Qixuan, and Li Shumin. With translations by Neil Aitken, Katie Farris, Ming Di, Christopher Lupke, Tony Barnstone, Afaa Weaver, Jonathan Stalling, Nick Admussen, Eleanor Goodman, Ao Wang, Dian Li, Kerry Shawn Keys, Jennifer Kronovet, Elizabeth Reitzell, and Cody Reese.

New Day Begun presents the findings of the first major research project on black churches’ civic involvement since C. Eric Lincoln and Lawrence H. Mamiya’s landmark study The Black Church in the African American Experience. Since the passage of the 1964 Civil Rights Act and the 1965 Voting Rights Act, the scale and scope of African American churches’ civic involvement have changed significantly: the number of African American clergy serving in elective and appointive offices has noticeably increased, as have joint efforts by black churches and government agencies to implement policies and programs. Filling a vacuum in knowledge about these important developments, New Day Begun assesses the social, political, and ecclesiastical factors that have shaped black church responses to American civic and political life since the Civil Rights movement.

This collection of essays analyzes the results of an unprecedented survey of nearly 2,000 African American churches across the country conducted by The Public Influences of African-American Churches Project, which is based at Morehouse College in Atlanta. These essays—by political scientists, theologians, ethicists, and others—draw on the survey findings to analyze the social, historical, and institutional contexts of black church activism and to consider the theological and moral imperatives that have shaped black church approaches to civic life—including black civil religion and womanist and afrocentric critiques. They also look at a host of faith-based initiatives addressing economic development and the provision of social services. New Day Begun presents necessary new interpretations of how black churches have changed—and been changed by—contemporary American political culture.

Contributors. Lewis Baldwin, Allison Calhoun-Brown, David D. Daniels III, Walter Earl Fluker, C.R.D. Halisi, David Howard-Pitney, Michael Leo Owens, Samuel Roberts, David Ryden, Corwin Smidt, R. Drew Smith

The most comprehensive account available of the rise and fall of the Black Power Movement and of its dramatic transformation of both African-American and larger American culture. With a gift for storytelling and an ear for street talk, William Van Deburg chronicles a decade of deep change, from the armed struggles of the Black Panther party to the cultural nationalism of artists and writers creating a new aesthetic. Van Deburg contends that although its tactical gains were sometimes short-lived, the Black Power movement did succeed in making a revolution—one in culture and consciousness—that has changed the context of race in America.

"New Day in Babylon is an extremely intelligent synthesis, a densely textured evocation of one of American history's most revolutionary transformations in ethnic group consciousness."—Bob Blauner, New York Times

Winner of the Gustavus Myers Center Outstanding Book Award, 1993

The twelve essays in this book, several published here for the first time, represent some of Tony Badger’s best work in his ongoing examination of how white liberal southern politicians who came to prominence in the New Deal and World War II handled the race issue when it became central to politics in the 1950s and 1960s. Franklin Roosevelt in the 1930s thought a new generation of southerners would wrestle Congress back from the conservatives. The Supreme Court thought that responsible southern leaders would lead their communities to general school desegregation after the Brown decision. John F. Kennedy believed that moderate southern leaders would, with government support, facilitate peaceful racial change. Badger’s writings demonstrate how all of these hopes were misplaced. Badger shows time and time again that moderates did not control southern politics. Southern liberal politicians for the most part were paralyzed by their fear that ordinary southerners were all-too-aroused by the threat of integration and were reluctant to offer a coherent alternative to the conservative strategy of resistance.

Arizona’s art history is emblematic of the story of the modern West, and few periods in that history were more significant than the era of the New Deal. From Dorothea Lange and Ansel Adams to painters and muralists including Native American Gerald Nailor, the artists working in Arizona under New Deal programs were a notable group whose art served a distinctly public purpose. Their photography, paintings, and sculptures remain significant exemplars of federal art patronage and offer telling lessons positioned at the intersection of community history and culture.

Art is a powerful instrument of historical record and cultural construction, and many of the issues captured by the Farm Security Administration photographers remain significant issues today: migratory labor, the economic volatility of the mining industry, tourism, and water usage. Art tells important stories, too, including the work of Japanese American photographer Toyo Miyatake in Arizona’s internment camps, murals by Native American artist Gerald Nailor for the Navajo Nation Council Chamber in Window Rock, and African American themes at Fort Huachuca. Illustrated with 100 black-andwhite photographs and covering a wide range of both media and themes, this fascinating and accessible volume reclaims a richly textured story of Arizona history with potent lessons for today.

In New Deal Modernism Michael Szalay examines the effect that the rise of the welfare state had on American modernism during the 1930s and 1940s, and, conversely, what difference this revised modernism made to the New Deal’s famed invention of “Big Government.”
Szalay situates his study within a liberal culture bent on security, a culture galvanized by its imagined need for private and public insurance.
Taking up prominent exponents of social and economic security—such as Franklin Delano Roosevelt, John Maynard Keynes, and John Dewey—Szalay demonstrates how the New Deal’s revision of free-market culture required rethinking the political function of aesthetics. Focusing in particular on the modernist fascination with the relation between form and audience, Szalay offers innovative accounts of Busby Berkeley, Jack London, James M. Cain, Robert Frost, Ayn Rand, Betty Smith, and Gertrude Stein, as well as extended analyses of the works of Ernest Hemingway, John Steinbeck, and Richard Wright.

Upon entering the White House in 1933, President Franklin D. Roosevelt faced an ailing economy in the throes of the Great Depression and rushed to transform the country through recovery programs and legislative reform. By 1934, he began to send professional photographers to the state of West Virginia to document living conditions and the effects of his New Deal programs. The photographs from the Farm Security Administration Project not only introduced “America to Americans,” exposing a continued need for government intervention, but also captured powerful images of life in rural and small town America.

New Deal Photographs of West Virginia, 1934-1943 presents images of the state’s northern and southern coalfields, the subsistence homestead projects of Arthurdale, Eleanor, and Tygart Valley, and various communities from Charleston to Clarksburg and Parkersburg to Elkins. With over one hundred and fifty images by ten FSA photographers, including Walker Evans, Marion Post Wolcott, Arthur Rothstein, and Ben Shahn, this collection is a remarkable proclamation of hardship, hope, endurance, and, above all, community. These photographs provide a glimpse into the everyday lives of West Virginians during the Great Depression and beyond.

Beginning in the 1970s, a new generation of writers took over the hard-boiled story (created by Raymond Chandler and Dashiell Hammett) and transformed it to fit the realities of their world—a universe infected by violence, greed, racism, sexism, war, and commercialism. Their protagonists, too, are far different from Sam Spade and Philip Marlowe.
    The author comments both on the way the hard-boiled story has changed over the past three decades and examines the work of ten significant contemporary hard-boiled writers. Chapters on Robert B. Parker, James Crumley, Loren Estleman, Sara Paretsky, Sue Grafton, Carl Hiaasen, Earl Emerson, Robert Crais, James Lee Burke, and Walter Mosley demonstrate how these writers have used the hard-boiled hero to make powerful statements about life in the last quarter of the twentieth century.

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.

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

During the last two decades of the twentieth century, U.S. Latina writers have made a profound impact on American letters with fiction in both mainstream and regional venues. Following on the heels of this vibrant and growing body of work, New Latina Narrative offers the first in-depth synthesis and literary analysis of this transethnic genre. Focusing on the dynamic writing published in the 1980s and 1990s by Mexican American, Puerto Rican, Cuban American, and Domincan American women, New Latina Narrative illustrates how these writers have redefined the concepts of multiculturalism and diversity in American society. As participants in both mainstream and grassroots forms of multiculturalism, these new Latina narrativists have created a feminine space within postmodern ethnicity, disrupting the idealistic veneer of diversity with which publishers often market this fiction. In this groundbreaking study, author Ellen McCracken opens the conventional boundaries of Latino/a literary criticism, incorporating elements of cultural studies theory and contemporary feminism. Emphasizing the diversity within new Latina narrative, McCracken discusses the works of more than two dozen writers, including Julia Alvarez, Denise Chávez, Sandra Cisneros, Cristina Garcia, Graciela Limón, Demetria Martínez, Pat Mora, Cherríe Moraga, Mary Helen Ponce, and Helena María Viramontes. She stresses such themes as the resignification of master narrative, the autobiographical self and collective identity, popular religiosity, subculture and transgression, and narrative harmony and dissonance. New Latina Narrative provides readers an enriched basis for reconceiving the overall Latino/a literary field and its relation to other contemporary literary and cultural trends. McCracken's original approach extends the Latina literary canon—both the works to be studied and the issues to be examined—resulting in a valuable work for all readers of women's studies, contemporary American literature, ethnic studies, communications, and sociology.

Trailblazing women working in digital arts media and education established the Midwest as an international center for the artistic and digital revolution in the 1980s and beyond. Foundational events at the University of Illinois and the School of the Art Institute of Chicago created an authentic, community-driven atmosphere of creative expression, innovation, and interdisciplinary collaboration that crossed gender lines and introduced artistically informed approaches to advanced research. Interweaving historical research with interviews and full-color illustrations, New Media Futures captures the spirit and contributions of twenty-two women working within emergent media as diverse as digital games, virtual reality, medicine, supercomputing visualization, and browser-based art. The editors and contributors give voice as creators integral to the development of these new media and place their works at the forefront of social change and artistic inquiry. What emerges is the dramatic story of how these Midwestern explorations in the digital arts produced a web of fascinating relationships. These fruitful collaborations helped usher in the digital age that propelled social media. Contributors: Carolina Cruz-Niera, Colleen Bushell, Nan Goggin, Mary Rasmussen, Dana Plepys, Maxine Brown, Martyl Langsdorf, Joan Truckenbrod, Barbara Sykes, Abina Manning, Annette Barbier, Margaret Dolinsky, Tiffany Holmes, Claudia Hart, Brenda Laurel, Copper Giloth, Jane Veeder, Sally Rosenthal, Lucy Petrovic, Donna J. Cox, Ellen Sandor, and Janine Fron.
 

The recent wave of immigration into this country has given rise to myriad concerns—from the worries about the impact of immigration on the nation's economy to questions about whether multilingual education should be used in public schools. The resulting debates have overshadowed some very good news: this influx of New Immigrants has resulted in an astonishing rebirth of many of our older, decaying cities. Nowhere has this demographic renewal been more apparent than in New York City, as Louis Winnick demonstrates in New People in Old Neighborhoods, a timely and perceptive study of the effects of immigration in Brooklyn's Sunset Park. Sunset Park was born of the late nineteenth century flood of immigrants who developed a prosperous waterfront commerce; by the end of World War I the community had achieved a thriving maturity. Yet the decades following World War II brought about a period of urban decay lifted only by the post-1965 influx of more than 20,000 immigrants, most notably from Asia and the Caribbean Basin. These New Immigrants not only revived the dying community but enriched it with greater ethnic diversity than it had ever known. Winnick combines data on ethnic change and living patterns with data on employment, housing, school enrollment, and subway ridership to study the revitalization of Sunset Park. He discusses the ethnic composition and characteristics of the new immigrants; trends in self-employment and entrepreneurship ("microcapitalism"); immigrant impact upon retailing, manufacturing, and the lower echelons of the service industries; skill and education levels; and presence in the professions. Winnick also discusses the immigrants' positive effect on faltering New York systems, such as the subways and public schools, and places immigrant renewal within the larger context of overall housing and economic regeneration in New York City. New People in Old Neighborhoods views today's immigrants as the historic heirs to the community builders of the last century, and offers important insights into the often-troubled yet transforming relationship between the nation and its foreign-born population. The future of these immigrants will be a yardstick to measure the quality and performance of our cities and their neighborhoods in the years ahead.

Following on F. A. Hayek's previous work Studies in Philosophy, Politics, and Economics (1967), New Studies in Philosophy, Politics, Economics and the History of Ideas collects some of Hayek's most notable essays and lectures dealing with problems of philosophy, politics and economics, with many of the essays falling into more than one of these categories. Expanding upon the previous volume the present work also includes a fourth part collecting a series of Hayek's writings under the heading 'History of Ideas.'

Of the articles contained in this volume the lectures on 'The Errors of Constructivism' (chapter 1) and 'Competition as a Discovery Procedure' (chapter 12) have been published before only in German, while the article on 'Liberalism' (chapter 9) was written in English to be published in an Italian translation in the Enciclopedia del Novicento by the Istituto della Enciclopedia Italiana at Rome.

During the 1960s and 1970s, a cadre of poets, playwrights, visual artists, musicians, and other visionaries came together to create a renaissance in African American literature and art. This charged chapter in the history of African American culture—which came to be known as the Black Arts Movement—has remained largely neglected by subsequent generations of critics. New Thoughts on the Black Arts Movement includes essays that reexamine well-known figures such as Amiri Baraka, Larry Neal, Gwendolyn Brooks, Sonia Sanchez, Betye Saar, Jeff Donaldson, and Haki Madhubuti. In addition, the anthology expands the scope of the movement by offering essays that explore the racial and sexual politics of the era, links with other period cultural movements, the arts in prison, the role of Black colleges and universities, gender politics and the rise of feminism, color fetishism, photography, music, and more. An invigorating look at a movement that has long begged for reexamination, this collection lucidly interprets the complex debates that surround this tumultuous era and demonstrates that the celebration of this movement need not be separated from its critique.