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School choice promises to free families from the limits of where they live. The Scarcity Loop asks what happens when that promise is made in school systems where more children seek desirable schools than those schools can serve. Focused on New York City’s high school admissions system, sociologist Jennifer L. Jennings argues that choice becomes another way to ration scarce educational opportunity, shifting where rationing happens, who must manage it, and how families understand the outcomes that follow.

Jennings begins with the admissions process itself. New York City asks every eighth grader to choose from hundreds of options. On paper, the system offers extraordinary possibility. But that possibility still has to be converted into a seat. Someone has to learn the rules, compare schools, manage deadlines, make trips, and decide how much risk a thirteen-year-old can bear. Jennings calls this the work of getting in and shows that the capacity to do that work is not evenly distributed. Some families enter choice systems with the fluency and flexibility to turn options into opportunity. Others confront it with fewer supports and far less room for error. Some teenagers shoulder decisions with little adult help. Counselors translate complicated rules under impossible constraints. Principals are not passive actors. Jennings shows how they recruit and adapt as they try to build schools families will choose while managing demand and reputation.

Jennings contends that reforms meant to expand access can reorganize the very competition they aim to resolve. As one barrier recedes, another becomes more consequential. Residence matters less, but advantage does not disappear; it travels through information, timing, and familiarity with the rules. Inequality persists not because nothing changes, but because advantage finds new points of entry as reforms change rules. As the work of securing opportunity shifts, so do understandings of inequality. Unequal outcomes can come to look less like consequences of how educational opportunities are organized and more like reflections of how families navigate the system.

Drawing on more than 450 interviews, participant observation, administrative data, and archival research, The Scarcity Loop follows students, parents, counselors, and principals as they navigate school choice at scale. Jennings traces who must do the work of making choice real, clarifying what is at stake when public education becomes something families must know how to secure.

The Scarcity Loop skillfully shows the consequences of scarcity in public education on schools and families, and reveals how scarcity reproduces itself, even when reforms are sincere.

JENNIFER L. JENNINGS is the Class of 1988 Professor in Domestic Policy and Professor of Sociology and Public Affairs, Princeton University

Musicals, it is often said, burst into song and dance when mere words can no longer convey the emotion. This book argues that musicals burst into song and dance when one body can no longer convey the emotion. Rogers shows how the musical’s episodes of burlesque and minstrelsy model the kinds of radical relationships that the genre works to create across the different bodies of its performers, spectators, and creators every time the musical bursts into song. These radical relationships—borne of the musical’s obsessions with “bad” performances of gender and race—are the root of the genre’s progressive play with identity, and thus the source of its subcultural power. However, this leads to an ethical dilemma: Are the musical’s progressive politics thus rooted in its embrace of regressive entertainments like burlesque and minstrelsy?

The Song Is You shows how musicals return again and again to this question, and grapple with a guilt that its joyous pleasures are based on exploiting the laboring bodies of its performers. Rogers argues that the discourse of “integration”—which claims that songs should advance the plot—has functioned to deny the radical work that the musical undertakes every time it transitions into song and dance. Looking at musicals from The Black Crook to Hamilton, Rogers confronts the gendered and racial dynamics that have always under-girded the genre, and asks how we move forward.

Everyone wants to visit New York at least once. The Big Apple is a global tourist destination with a dizzying array of attractions throughout the five boroughs. The only problem is figuring out where to start—and that’s where the city’s tour guides come in.

These guides are a vital part of New York’s raucous sidewalk culture, and, as The Tour Guide reveals, the tours they offer are as fascinatingly diverse—and eccentric—as the city itself. Visitors can take tours that cover Manhattan before the arrival of European settlers, the nineteenth-century Irish gangs of Five Points, the culinary traditions of Queens, the culture of Harlem, or even the surveillance cameras of Chelsea—in short, there are tours to satisfy anyone’s curiosity about the city’s past or present. And the guides are as intriguing as the subjects, we learn, as Jonathan R. Wynn explores the lives of the people behind the tours, introducing us to office workers looking for a diversion from their desk jobs, unemployed actors honing their vocal skills, and struggling retirees searching for a second calling. Matching years of research with his own experiences as a guide, Wynn also lays bare the grueling process of acquiring an official license and offers a how-to guide to designing and leading a tour.

Touching on the long history of tour-giving across the globe as well as the ups and downs of New York’s tour guide industry in the wake of 9/11, The Tour Guide is as informative and insightful as the chatty, charming, and colorful characters at its heart.

Their motivation to migrate and to work as erotic dancers can also be understood in the context of a representational system, inaugurated in colonial times, that emphasizes the exoticism of Brazilian womentheir bodies, their skin tone, their sexuality. These stereotypes are the props that Brazilian women use to construct their performances in Manhattan and Queens gentlemen's bars and the language through which they negotiate their relationships to society at large.

Transnational Desires focuses on the lives of nine Brazilian dancers with whom the author, herself a middleclass Brazilian, developed close relationships over the years. Maia examines their social relations both in the bar scene and with family, friends, and lovers outside. She shows that for these women erotic dancing is part of a life trajectory that involves negotiating their social position and life prospects in a fundamentally transnational social universe.