For African American men without a high school diploma, being in prison or jail is more common than being employed—a sobering reality that calls into question post-Civil Rights era social gains. Nearly 70 percent of young black men will be imprisoned at some point in their lives, and poor black men with low levels of education make up a disproportionate share of incarcerated Americans. In Invisible Men, sociologist Becky Pettit demonstrates another vexing fact of mass incarceration: most national surveys do not account for prison inmates, a fact that results in a misrepresentation of U.S. political, economic, and social conditions in general and black progress in particular. Invisible Men provides an eye-opening examination of how mass incarceration has concealed decades of racial inequality. Pettit marshals a wealth of evidence correlating the explosion in prison growth with the disappearance of millions of black men into the American penal system. She shows that, because prison inmates are not included in most survey data, statistics that seemed to indicate a narrowing black-white racial gap—on educational attainment, work force participation, and earnings—instead fail to capture persistent racial, economic, and social disadvantage among African Americans. Federal statistical agencies, including the U.S. Census Bureau, collect surprisingly little information about the incarcerated, and inmates are not included in household samples in national surveys. As a result, these men are invisible to most mainstream social institutions, lawmakers, and nearly all social science research that isn't directly related to crime or criminal justice. Since merely being counted poses such a challenge, inmates' lives—including their family background, the communities they come from, or what happens to them after incarceration—are even more rarely examined. And since correctional budgets provide primarily for housing and monitoring inmates, with little left over for job training or rehabilitation, a large population of young men are not only invisible to society while in prison but also ill-equipped to participate upon release. Invisible Men provides a vital reality check for social researchers, lawmakers, and anyone who cares about racial equality. The book shows that more than a half century after the first civil rights legislation, the dismal fact of mass incarceration inflicts widespread and enduring damage by undermining the fair allocation of public resources and political representation, by depriving the children of inmates of their parents' economic and emotional participation, and, ultimately, by concealing African American disadvantage from public view.

The 1896 published volume has addenda and errata on p. [1017]-1119.

This captivating book reproduces arguably the most extraordinary primary source documents in fashion history. Providing a revealing window onto the Renaissance, they chronicle how style-conscious accountant Matthäus Schwarz and his son Veit Konrad experienced life through clothes, and climbed the social ladder through fastidious management of self-image. These bourgeois dandies' agenda resonates as powerfully today as it did in the sixteenth century: one has to dress to impress, and dress to impress they did. The Schwarzes recorded their sartorial triumphs as well as failures in life in a series of portraits by illuminists over 60 years, which have been comprehensively reproduced in full color for the first time. These exquisite illustrations are accompanied by the Schwarzes' fashion-focussed yet at times deeply personal captions, which render the pair the world's first fashion bloggers and pioneers of everyday portraiture. The First Book of Fashion demonstrates how dress – seemingly both ephemeral and trivial – is a potent tool in the right hands. Beyond this, it colorfully recaptures the experience of Renaissance life and reveals the importance of clothing to the aesthetics and every day culture of the period. Historians Ulinka Rublack's and Maria Hayward's insightful commentaries create an unparalleled portrait of sixteenth-century dress that is both strikingly modern and thorough in its description of a true Renaissance fashionista's wardrobe. This first English translation also includes a bespoke pattern by TONY award-winning costume designer and dress historian Jenny Tiramani, from which readers can recreate one of Schwarz's most elaborate and politically significant outfits.