With The Sentimental State, Elizabeth Garner Masarik shows how middle-class women, both white and Black, harnessed the nineteenth-century “culture of sentiment” to generate political action in the Progressive Era. While eighteenth-century rationalism had relied upon the development of the analytic mind as the basis for acquiring truth, nineteenth-century sentimentalism hinged upon human emotional responses and the public’s capacity to feel sympathy to establish morally based truth and build support for improving the welfare of women and children. Sentimentalism marched right alongside women’s steps into the public sphere of political action. The concerns over infant mortality and the “fall” of young women intertwined with sentimentalism to elicit public action in the formation of the American welfare state. The work of voluntary and paid female reformers during the late-nineteenth and early-twentieth centuries shaped what would become lasting collaborations between grassroots voluntary organizations and the national government. Women saw a social need, filled it, and cobbled together a network of voluntary organizations that tapped state funding and support when available. Their work provided safeguards for women and children and created a network of female-oriented programs that both aided and policed women of child-bearing age at the turn of the twentieth century. Through an examination of these reform programs, Masarik demonstrates the strong connection between nineteenth-century sentimental culture and female political action, advocating government support for infant and maternal welfare, in the twentieth century.

"Racy scholarship does the Grizzly Bear here with theoretical rigor." —William Lhamon, author of Raising Cain Everybody’s Doin’ It is the eye-opening story of popular music’s seventy-year rise in the brothels, dance halls, and dives of New York City. It traces the birth of popular music, including ragtime and jazz, to convivial meeting places for sex, drink, music, and dance. Whether coming from a single piano player or a small band, live music was a nightly feature in New York’s spirited dives, where men and women, often black and white, mingled freely—to the horror of the elite. This rollicking demimonde drove the development of an energetic dance music that would soon span the world. The Virginia Minstrels, Juba, Stephen Foster, Irving Berlin and his hit “Alexander’s Ragtime Band,” and the Original Dixieland Jass Band all played a part in popularizing startling new sounds. Musicologist Dale Cockrell recreates this ephemeral underground world by mining tabloids, newspapers, court records of police busts, lurid exposés, journals, and the reports of undercover detectives working for social-reform organizations, who were sent in to gather evidence against such low-life places. Everybody’s Doin’ It illuminates the how, why, and where of America’s popular music and its buoyant journey from the dangerous Five Points of downtown to the interracial black and tans of Harlem.

Dictionaries usually give only brief treatment to etymologies and even etymological dictionaries often do not lavish on them the attention which many deserve. To help fill the gap, the author deals in depth with several etymologically problematic words in various Germanic, Jewish, Romance, and Slavic languages, all of which have hitherto either been misetymologized or not etymologized at all. Sometimes, he succeeds in cracking the nut. Sometimes, he is able only to clear away misunderstanding and set the stage for further treatment. Usually, he marshals not only linguistic but also historical and cultural information. Since this book also discusses methodology, it has the makings of an introduction to the science, art, and craft of etymology. David L. Gold is the founder of the Jewish Name and Family Name File, the Jewish English Archives, and the Association for the Study of Jewish Languages, as well as the editor of Jewish Language Review and Jewish Linguistic Studies.

In this study of Bernard Mandeville's A Modest Defence of Publick Stews , Irwin Primer breaks new ground by arguing that in addition to being an advocation for the establishment of state-regulated houses of prostitution, Mandeville's writing is also a highly polished work of literature.