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This pathbreaking study traces the rise--and subsequent fall--of the United Packinghouse Workers of America (UPWA). Roger Horowitz looks at local leaders and meatpacking workers in Chicago, Kansas City, Sioux City, and Austin, Minnesota, closely examining the unionizing of the workplace and the prominent role of black workers and women in UPWA. 

Horowitz shows how three major firms in U.S. meat production and distribution became dominant by virtually eliminating union power. The union's decline, he argues, reflected massive pressure by capital for lower labor costs and greater control over the work process. In the end, the victorious firms were those that had been most successful at increasing the rate of exploitation of their workers, who now labor in conditions as bad as those of a century ago.

Anderson leads readers through the tumultuous years just after World War II when the Roman Catholic Church in the American South struggled to reconcile its commitment to social justice with the legal and social heritage of Jim Crow society. Though these early efforts at reform, by and large, failed, they did serve to galvanize Catholic supporters and opponents of the Civil Rights Movement and provided a model for more successful efforts at desegregation in the '60s.

As a Jesuit himself, Anderson has access to archives that remain off-limits to other scholars. His deep knowledge of the history of the Catholic Church also allows him to draw connections between this historical period and the present. In the resistance to desegregation, Anderson finds expression of a distinctly American form of Catholicism, in which lay people expect Church authorities to ratify their ideas and beliefs in an almost democratic fashion. The conflict he describes is as much between popular and hierarchical models of the Church as between segregation and integration.

A Latina girl’s journey through the shadows of the civil rights era.

Darkroom is a deeply moving graphic memoir that chronicles Lila Quintero Weaver’s experience growing up as an Argentine immigrant in 1960s Alabama during the height of the civil rights movement. Through striking black-and-white illustrations and heartfelt narrative, Weaver explores the complexities of race, identity, and belonging in a society divided by segregation. Neither Black nor White, her family occupies a unique position that offers a powerful lens on the struggles for justice and equality. This coming-of-age story blends personal history with pivotal social change, inviting readers to reflect on themes of immigration, cultural assimilation, and moral courage. Darkroom is both an intimate portrait and a universal tale of resilience, making it an essential read for those interested in civil rights, memoirs, and graphic storytelling.

The essays in Europe in Black and White offer new critical perspectives on race, immigration, and identity on the Old Continent. In reconsidering the various forms of encounters with difference, such as multiculturalism and hybridity, the contributors address a number of issues, including the cartography of postcolonial Europe, its relation to the production of "difference" and "race," and national and identity politics and their dependence on linguistic practices inherited from imperial times. Featuring scholars from a wide variety of nationalities and disciplinary areas, this collection will speak to an equally wide readership.

An intimate story of otherness and care by a major voice in Slovak literature.

For more than three decades, Jana Bodnárová has been one of Slovak literature’s most distinctive voices, writing with a lyricism that is at once tender and unflinchingly harsh. Patchwork in White is a brief yet powerful novel that stitches together fragments of lives bound by intimacy, difference, and care, set against the social fabric of Czechoslovakia from the mid-1950s to the present.

At the center of the novel are Ota and Andrej, a couple whose shared memories unfold through shards of childhood, marriage, and parenthood. Their lives are irrevocably shaped by the decision to adopt albino twins—children marked by abuse and exclusion because of their otherness. As these fragments accumulate, the novel becomes a meditation on motherhood, femininity, love, and the quiet imminence of death.

Poetic, restrained, and brutally honest, Bodnárová’s prose finds resonance in what is left unsaid. Illustrations by Eva Moflárová deepen the book’s emotional texture, creating a work of rare intimacy and moral force.

A robust ethnography of Islamic Relief explores difficult questions about the extensive reach of white supremacy

An ethnography of Islamic Relief (IR), the largest Islamic NGO based in the West, Racializing the Ummah explores how a Muslim organization can do good in a world that defines Muslimness as less than human. Rooted in more than a decade of international research, Rhea Rahman’s study on the organization’s projects, methods, and limitations reveals how racial capitalism permeates all aspects of humanitarianism.

Beginning with a counterhistory of Muslims in the United Kingdom following World War II, Rahman analyzes IR’s mission and transnational activities in and across places including the UK, South Africa, and Mali in the broader context of global white supremacy. She shows how IR’s approaches often effectively secularize Islam to evade anti-Muslim racism and Islamophobia, implicating concepts such as the “good” Muslim aid worker, who complies with War on Terror surveillance while attending to victims of Western colonialism. Meanwhile, Rahman theorizes the tactics of aid workers on the ground, who creatively draw on an Islamic Black radical tradition to drive real change.

Through her engagement with IR and other organizations, Rahman paints a frank, nuanced portrait of the constraints Islamic aid entities face in the effort to disentangle themselves from neocolonialism and Western hegemony. Yet she also locates the possibility of escape from the all-encompassing dictates of racial capitalism in alternative visions of doing good—ones that are grounded in Islam as the foundation of a revolutionary praxis.

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For many, the name Richard Segalman conjures up a vision of light-infused paintings of women gathered on a beach, gazing out the window of a New York City brownstone, or dressed in vcostumes from another era. But just as Edgar Degas, approaching his 60th year, surprised gallery goers with an exhibition not of ballerinas or race horses, but of highly atmospheric monotype landscapes, so too does Segalman surprise us with this exceptional collection of monotypes he began to produce in 1993, at nearly 60. "I reached a sort of plateau and needed a new direction," says the artist. "I came across a monotype... took a course... made one and I was hooked."

The significance of Segalman's shift into this medium is most powerfully conveyed through his arresting black-and-white prints that range from anonymous crowds on Coney Island beaches or New York City streets to a solitary figure in private contemplation. This monochromatic focus makes perfect sense: Segalman's first gallery appearance in New York—a sold-out show that gave him the courage to embrace the life of an artist—consisted entirely of black-and-white charcoal drawings, several stunning examples of which open this book.

Author Susan F. Castle's essay about the artist and his muses—the people, places, and things for which Richard Segalman has an abiding love—illuminates the exceptional work collected for this monograph. She combines excerpts from interviews with the artist and the three master printmakers with whom he has worked in Woodstock and Brooklyn, New York, and in Santa Fe, New Mexico. In addition, Anthony Kirk's insightful introudction provides an essential historical perspective on the artist and his printmaking process.

Exploring the shared storytelling traditions that shaped Southern literature across racial lines.

Tracing Southern Storytelling in Black and White is a study of the historical use of oral storytelling by southern writers in written works. In each chapter, Sarah Gilbreath Ford pairs a white and an African American writer to highlight points of confluence in black and white southern oral traditions. She argues that the connections between white and African American southern writers run deeper than critics have yet explored, and she uses textual comparisons to examine the racial mixing of oral culture.

On porches, in kitchens, and on the pages of their work, black and white southerners exchanged not just stories but strategies for telling stories. As a boy, Joel Chandler Harris listened to the stories of African American slaves, and he devised a framework to turn the oral stories into written ones. Harris’s use of the frame structure influenced how Charles Chesnutt recorded oral stories, but it led Alice Walker to complain that her heritage had been stolen. Mark Twain listened to African American storytellers as a child. His use of oral dialects then impacts how Ralph Ellison and William Faulkner employ oral storytelling and how Toni Morrison later writes in response to Faulkner. The interactions are not linear, not a chain of influence, but a network of interactions, borrowings, and revisions.

Ford’s pairings lead to new readings that reveal how the writers employ similar strategies in their narratives, due in part to shared historical context. While Zora Neale Hurston and William Faulkner, for example, use oral storytelling in the 1930s to examine the fear of racial mixing, Ellen Douglas and Ernest Gaines use it in the 1970s to build bridges between the races. Exploring the cultural crossing that occurs in the use of oral storytelling, Ford offers a different view of this common strategy in southern narrative and a new perspective on how culture is shared.

The ability to achieve economic security through hard work is a central tenet of the American Dream, but significant shifts in today’s economy have fractured this connection. While economic insecurity has always been a reality for some Americans, Black Americans have historically long experienced worse economic outcomes than Whites. In Work in Black and White, sociologists Enobong Hannah Branch and Caroline Hanley draw on interviews with 80 middle-aged Black and White Americans to explore how their attitudes and perceptions of success are influenced by the stories American culture has told about the American Dream – and about who should have access to it and who should not.

Branch and Hanley find that Black and White workers draw on racially distinct histories to make sense of today’s rising economic insecurity. White Americans have grown increasingly pessimistic and feel that the American Dream is now out of reach, mourning the loss of a sense of economic security which they took for granted. But Black Americans tend to negotiate their present insecurity with more optimism, since they cannot mourn something they never had. All educated workers bemoaned the fact that their credentials no longer guarantee job security, but Black workers lamented the reality that even with an education, racial inequality continues to block access to good jobs for many.

The authors interject a provocative observation into the ongoing debate over opportunity, security, and the American Dream: Among policymakers and the public alike, Americans talk too much about education. The ways people navigate insecurity, inequality, and uncertainty rests on more than educational attainment. The authors call for a public policy that ensures dignity in working conditions and pay while accounting for the legacies of historical inequality.

Americans want the game of life to be fair. While the survey respondents expressed common ground on the ideal of meritocracy, opinions about to achieve economic security for all diverge along racial lines, with the recognition – or not – of differences in current and past access to opportunity in America.

Work in Black and White is a call to action for meaningful policies to make the premise of the American Dream a reality.