Urban Underworlds is an exploration of city spaces, pathologized identities, lurid fears, and American literature. Surveying one hundred years of history, and fusing sociology, urban planning, and criminology with literary and cultural studies, it chronicles how and why marginalized populations-immigrant Americans in the Lower East Side, gays and lesbians in Greenwich Village and downtown Los Angeles, the black underclass in Harlem and Chicago, and the new urban poor dispersed across American cities-have been selectively targeted as "urban underworlds" and their neighborhoods.

In Metropolis on the Styx,David L. Pike considers how underground spaces and their many myths have organized ways of seeing, thinking about, and living in the modern city. Expanding on the cultural history of underground construction in his acclaimed previous book, Subterranean Cities, Pike details the emergence of a vertical city in the imagination of nineteenth-century Paris and London, a city overseen by hosts of devils and undermined by subterranean villains, a city whose ground level was replete with passages between above and below. Metropolis on the Styx brings together a rich variety of visual and written sources ranging from pulp mysteries and movie serials to the poetry of Charles Baudelaire and the novels of Marcel Proust, F. Scott Fitzgerald, and Elinor Glyn to the broadsheets and ephemera of everyday urban life. From these materials, Pike conjures a working theory of modern underground space that explains why our notions about urban environments remain essentially nineteenth-century in character, even though cities themselves have since changed almost beyond recognition.Highly original in subject matter, methodology, and conclusions, Metropolis on the Styx synthesizes a number of critical approaches, periods of study, and disciplines in the analysis of a single category of space—the underground. Pike studies the built environments and the textual and visual ephemera (including little-known or unknown archival material) of Paris, London, and other cities in conjunction with canonical modern literature and art. This book integrates a rich visual component—photographs, movie stills, prints, engravings, paintings, cartoons, maps, and drawings of actual and imagined subterranean spaces—into the fabric of the argument.

"Exploring the lives of prominent gay men and women, literary depictions of gay city life, classic works of urban theory, and the rhetoric of political reformers, Abraham challenges conventional thinking about what it means to be metropolitan and what it means to be queer. From Paris, London, and Manchester, to Los Angeles, Chicago, New York, and San Francisco, Abraham maps the connections, the exchanges of meaning, and the transfers of value that inform ideas of homosexuality and the city, ideas that have shaped modern life. While the city and homosexuality have long been associated, Abraham analyzes their convergence with unprecedented insight and reveals the inescapable consequences - both positive and negative of this union."--BOOK JACKET.

Part I analyzes the public's perception of organized crime, discusses common myths, describes the most important attributes, addresses issues related to definition, and provides an in-depth look at contemporary global criminal enterprises. Part II is a history of organized crime in the United States from colonial America to the present day. It includes descriptions of the principal enterprises, of how American organized crooks operate, stresses the evolving nature of the phenomenon and discusses the integral part played by political and economic elites. Part III focuses on theoretical issues, describes the sociological foundation, the development of organized crime theories and major organized crime paradigms.

Pike considers how underground spaces and their many myths have organized ways of seeing, thinking about, and living in the modern city. He details the emergence of the vertical city in the imagination of 19th century Paris and London, a city whose ground level was replete with passages between above and below.

Beggars, outcasts, urchins, waifs, prostitutes, criminals, convicts, madmen, fallen women, lunatics, degenerates—part reality, part fantasy, these are the grotesque faces that populate the underworld, the dark inverse of our everyday world. Lurking in the mirror that we hold up to our society, they are our counterparts and our doubles, repelling us and yet offering the tantalizing promise of escape. Although these images testify to undeniable social realities, the sordid lower depths make up a symbolic and social imaginary that reflects our fears and anxieties—as well as our desires. In Vice, Crime, and Poverty, Dominique Kalifa traces the untold history of the concept of the underworld and its representations in popular culture. He examines how the myth of the lower depths came into being in nineteenth-century Europe, as biblical figures and Christian traditions were adapted for a world turned upside-down by the era of industrialization, democratization, and mass culture. From the Parisian demimonde to Victorian squalor, from the slums of New York to the sewers of Buenos Aires, Kalifa deciphers the making of an image that has cast an enduring spell on its audience. While the social conditions that created that underworld have changed, Vice, Crime, and Poverty shows that, from social-scientific ideas of the underclass to contemporary cinema and steampunk culture, its shadows continue to haunt us.