Apparel manufacturing in the American South, by virtue of its size, its reliance upon female labor, and its broad geographic scope, is an important but often overlooked industry that connects the disparate concerns of women's history, southern cultural history, and labor history. In Striking Beauties, Michelle Haberland examines its essential features and the varied experiences of its workers during the industry's great expansion from the late 1930s through the demise of its southern branch at the end of the twentieth century. The popular conception of the early twentieth-century South as largely agrarian informs many histories of industry and labor in the United States. But as Haberland demonstrates, the apparel industry became a key part of the southern economy after the Great Depression and a major driver of southern industrialization. The gender and racial composition of the workforce, the growth of trade unions, technology, and capital investment were all powerful forces in apparel's migration south. Yet those same forces also revealed the tensions caused by racial and gender inequities not only in the region but in the nation at large. Striking Beauties places the struggles of working women for racial and economic justice in the larger context of southern history. The role of women as the primary consumers of the family placed them in a critical position to influence the success or failure of boycotts, union label programs and ultimately solidarity.

In July 1888, fourteen hundred women and girls employed by the matchmakers Bryant and May walked out of their East End factory and into the history books. Louise Raw gives us a challenging new interpretation of events proving that the women themselves, not celebrity socialists like Annie Besant, began it. She provides unequivocal evidence to show that the matchwomen greatly influenced the Dock Strike of 1889, which until now was thought to be the key event of new unionism, and repositions them as the mothers of the modern labour movement. Returning to the stories of the women themselves, and by interviewing their relatives today, Raw is able to construct a new history which challenges existing accounts of the strike itself and radically alters the accepted history of the labour movement in Britain.

Holding the Line, Barbara Kingsolver's first non-fiction book, is the story of women's lives transformed by an a signal event. Set in the small mining towns of Arizona, it is part oral history and part social criticism, exploring the process of empowerment which occurs when people work together as a community. Like Kingsolver's award-winning novels, Holding the Line is a beautifully written book grounded on the strength of its characters. Hundreds of families held the line in the 1983 strike against Phelps Dodge Copper in Arizona. After more than a year the strikers lost their union certification, but the battle permanently altered the social order in these small, predominantly Hispanic mining towns. At the time the strike began, many women said they couldn't leave the house without their husband's permission. Yet, when injunctions barred union men from picketing, their wives and daughters turned out for the daily picket lines. When the strike dragged on and men left to seek jobs elsewhere, women continued to picket, organize support, and defend their rights even when the towns were occupied by the National Guard. "Nothing can ever be the same as it was before," said Diane McCormick of the Morenci Miners Women's Auxiliary. "Look at us. At the beginning of this strike, we were just a bunch of ladies."

As the Civil War drew to a close, newly emancipated black women workers made their way to Atlanta—the economic hub of the newly emerging urban and industrial south—in order to build an independent and free life on the rubble of their enslaved past. In an original and dramatic work of scholarship, Tera Hunter traces their lives in the postbellum era and reveals the centrality of their labors to the African-American struggle for freedom and justice. Household laborers and washerwomen were constrained by their employers’ domestic worlds but constructed their own world of work, play, negotiation, resistance, and community organization. Hunter follows African-American working women from their newfound optimism and hope at the end of the Civil War to their struggles as free domestic laborers in the homes of their former masters. We witness their drive as they build neighborhoods and networks and their energy as they enjoy leisure hours in dance halls and clubs. We learn of their militance and the way they resisted efforts to keep them economically depressed and medically victimized. Finally, we understand the despair and defeat provoked by Jim Crow laws and segregation and how they spurred large numbers of black laboring women to migrate north. Hunter weaves a rich and diverse tapestry of the culture and experience of black women workers in the post–Civil War south. Through anecdote and data, analysis and interpretation, she manages to penetrate African-American life and labor and to reveal the centrality of women at the inception—and at the heart—of the new south.

Apparel manufacturing in the American South, by virtue of its size, its reliance upon female labor, and its broad geographic scope, is an important but often overlooked industry that connects the disparate concerns of women's history, southern cultural history, and labor history. In Striking Beauties, Michelle Haberland examines its essential features and the varied experiences of its workers during the industry's great expansion from the late 1930s through the demise of its southern branch at the end of the twentieth century. The popular conception of the early twentieth-century South as largely agrarian informs many histories of industry and labor in the United States. But as Haberland demonstrates, the apparel industry became a key part of the southern economy after the Great Depression and a major driver of southern industrialization. The gender and racial composition of the workforce, the growth of trade unions, technology, and capital investment were all powerful forces in apparel's migration south. Yet those same forces also revealed the tensions caused by racial and gender inequities not only in the region but in the nation at large. Striking Beauties places the struggles of working women for racial and economic justice in the larger context of southern history. The role of women as the primary consumers of the family placed them in a critical position to influence the success or failure of boycotts, union label programs and ultimately solidarity.

Newly arrived in New York City in 1910, Bella is desperate to send money home to her family in Italy, and becomes one of the hundreds of workers at the Triangle Shirtwaist Factory. But one fateful March night, a spark ignites some cloth in the factory, resulting in a fire that will become one of the worst workplace disasters in history.

NATIONAL BESTSELLER "A profound book.... It will break your heart but also leave you with hope." —J.D. Vance, author of Hillbilly Elegy "[A] deeply empathetic book." —The Economist With stark photo essays and unforgettable true stories, Chris Arnade cuts through "expert" pontification on inequality, addiction, and poverty to allow those who have been left behind to define themselves on their own terms. After abandoning his Wall Street career, Chris Arnade decided to document poverty and addiction in the Bronx. He began interviewing, photographing, and becoming close friends with homeless addicts, and spent hours in drug dens and McDonald's. Then he started driving across America to see how the rest of the country compared. He found the same types of stories everywhere, across lines of race, ethnicity, religion, and geography. The people he got to know, from Alabama and California to Maine and Nevada, gave Arnade a new respect for the dignity and resilience of what he calls America's Back Row--those who lack the credentials and advantages of the so-called meritocratic upper class. The strivers in the Front Row, with their advanced degrees and upward mobility, see the Back Row's values as worthless. They scorn anyone who stays in a dying town or city as foolish, and mock anyone who clings to religion or tradition as naïve. As Takeesha, a woman in the Bronx, told Arnade, she wants to be seen she sees herself: "a prostitute, a mother of six, and a child of God." This book is his attempt to help the rest of us truly see, hear, and respect millions of people who've been left behind.

The object of this essay is to explain as clearly as I am able, the grounds of an opinion which I have held from the very earliest period when I had formed any opinions at all on social or political matters, and which, instead of being weakened or modified, has been constantly growing stronger by the progress of reflection and the experience of life: That the principle which regulates the existing social relations between the two sexes- the legal subordination of one sex to the other- is wrong in itself, and now one of the chief hindrances to human improvement ; and that is ought to be replaced by a principle of perfect equality, admitting no power or privilege on the one side, nor disability on the other.

In July 1888, fourteen hundred women and girls employed by the matchmakers Bryant and May walked out of their East End factory and into the history books. Louise Raw gives us a challenging new interpretation of events proving that the women themselves, not celebrity socialists like Annie Besant, began it. She provides unequivocal evidence to show that the matchwomen greatly influenced the Dock Strike of 1889, which until now was thought to be the key event of new unionism, and repositions them as the mothers of the modern labour movement. Returning to the stories of the women themselves, and by interviewing their relatives today, Raw is able to construct a new history which challenges existing accounts of the strike itself and radically alters the accepted history of the labour movement in Britain.