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From the start, New York’s organized hotel workers experimented with and adapted how they organized and governed members and related to other labor unions. Richman follows union fortunes from early IWW activity through the Communist-led affiliates of the American Federation of Labor in the 1920s and 1930s, the shaping of breakthrough negotiating strategies, and the postwar era. As Richman shows, workers adopted a radicalism and militancy seldom associated with an AFL organization while openly negotiating the Communist Party’s power and influence within the union, until the Party’s eclipse in the 1950s.

An inspiring story of action and perseverance, We Always Had a Union profiles a foundational American labor union and offers lessons for today’s workers and organizers.

Depression-era Harlan County, Kentucky, was the site of one of the most bitter and protracted labor disputes in American history. The decade-long conflict between miners and the coal operators who adamantly resisted unionization has been immortalized in folksong by Florence Reece and Aunt Molly Jackson, contemplated in prose by Theodore Dreiser and Sherwood Anderson, and long been obscured by popular myths and legends.

John W. Hevener separates the fact from the legend in his Weatherford Award-winning investigation of Harlan's civil strife, now available for the first time in paperback. In Which Side Are You On? Hevener attributes the violence–-including the deaths of thirteen union miners–-to more than just labor conflict, viewing Harlan's troubles as sectional economic conflict stemming from the county's rapid industrialization and social disorganization in the preceding decade.

Detailing the dimensions of unionization and the balance of power spawned by New Deal labor policy after government intervention, Which Side Are You On? is the definitive analysis of Harlan's bloody decade and a seminal contribution to American labor history.

Working Backstage illuminates the work of New York City’s theater technicians, shining a light on the essential contributions of unionized stagehands, carpenters, electricians, sound engineers, properties artisans, wardrobe crews, makeup artists, and child guardians. Too-often dismissed or misunderstood as mere functionaries, these technicians are deeply engaged in creative problem-solving and perform collaborative, intricate choreographed work that parallels the performances of actors, singers, and dancers onstage. Although their contributions have fueled the Broadway machine, their contributions have been left out of most theater histories.

Theater historian Christin Essin offers clear and evocative descriptions of this invaluable labor, based on her archival research and interviews with more than 100 backstage technicians, members of the New York local of the International Alliance of Theatrical Stage Employees. A former theater technician herself, Essin provides readers with an insider’s view of the Broadway stage, from the suspended lighting bridge of electricians operating followspots for A Chorus Line; the automation deck where carpenters move the massive scenic towers for Newsies; the makeup process in the dressing room for The Lion King; the offstage wings of Matilda the Musical, where guardians guide child actors to entrances and exits. Working Backstage makes an significant contribution to theater studies and also to labor studies, exploring the politics of the unions that serve backstage professionals, protecting their rights and insuring safe working conditions. Illuminating the history of this typically hidden workforce, the book provides uncommon insights into the business of Broadway and its backstage working relationships among cast and crew members.

"Somebody said, 'History is written by the winners. The losers have nothing to say.' This book is by one of the losers, a bit player, not the star of the drama." So begins Gilbert Mers in these personal recollections of forty-two years on the Texas waterfront as longshoreman and radical union activist. But far from having "nothing to say," Mers reveals himself as a thoughtful philosopher of democratic ideals and eloquent agitator for union reform. He challenges the conventional wisdom that the leader is more valuable than the led. He contends that long tenure in positions of power dulls the union officer's working-class instincts. Always one to row against the current, Mers believes the union exists for the benefit of its members!

This is primary material of the best kind, vivid and evocative, and Mers, in his eighties at the time of writing the book, is an unusually vigorous and articulate spokesman for a democratic and humane unionism.

Whether he is describing the sweaty, dangerous and back-breaking work of loading cotton bales into the hold of an outbound ship or the gut-gripping tension of a face-to-face encounter with Texas Rangers bent on "law and order," Mers writes with the voice and conscience of the rank-and-file worker. He paints the waterfront world as it was, and perhaps still is—full of danger, humor, dignity in demoralizing circumstances, frustration, struggle, and sometimes hope—and tells his story with such wry humanity that even those who disagree with his destination will enjoy the ride.

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.