Featured in The New York Times Book Review Only a few decades ago, the Brooklyn stereotype well known to Americans was typified by television programs such as “The Honeymooners” and “Welcome Back, Kotter”—comedies about working-class sensibilities, deprivation, and struggles. Today, the borough across the East River from Manhattan is home to trendsetters, celebrities, and enough “1 percenters” to draw the Occupy Wall Street protests across the Brooklyn Bridge. “Tres Brooklyn,” has become a compliment among gourmands in Parisian restaurants. In The New Brooklyn, Kay Hymowitz chronicles the dramatic transformation of the once crumbling borough. Devoting separate chapters to Park Slope, Williamsburg, Bed Stuy and the Brooklyn Navy Yard, Hymowitz identifies the government policies and young, educated white and black middle class enclaves responsible for creating thousands of new businesses, safe and lively streets, and one of the most desirable urban environments in the world. Exploring Brownsville, the growing Chinatown of Sunset Park, and Caribbean Canarsie, Hymowitz also wrestles with the question of whether the borough’s new wealth can lift up long disadvantaged minorities, and the current generation of immigrants, many of whom will need more skills than their predecessors to thrive in a postindustrial economy. The New Brooklyn’s portraits of dramatic urban transformation, and its sometimes controversial effects, offers prescriptions relevant to “phoenix” cities coming back to life across the United States and beyond its borders.

From its founding in the late 1800s through the 1950s, Brownsville, a section of eastern Brooklyn, was a white, predominantly Jewish, working-class neighborhood. The famous New York district nurtured the aspirations of thousands of upwardly mobile Americans while the infamous gangsters of Murder, Incorporated controlled its streets. But during the 1960s, Brownsville was stigmatized as a black and Latino ghetto, a neighborhood with one of the city's highest crime rates. Home to the largest concentration of public housing units in the city, Brownsville came to be viewed as emblematic of urban decline. And yet, at the same time, the neighborhood still supported a wide variety of grass-roots movements for social change. The story of these two different, but in many ways similar, Brownsvilles is compellingly told in this probing new work. Focusing on the interaction of Brownsville residents with New York's political and institutional elites, Wendell Pritchett shows how the profound economic and social changes of post-World War II America affected the area. He covers a number of pivotal episodes in Brownsville's history as well: the rise and fall of interracial organizations, the struggles to deal with deteriorating housing, and the battles over local schools that culminated in the famous 1968 Teachers Strike. Far from just a cautionary tale of failed policies and institutional neglect, the story of Brownsville's transformation, he finds, is one of mutual struggle and frustrated cooperation among whites, blacks, and Latinos. Ultimately, Brownsville, Brooklyn reminds us how working-class neighborhoods have played, and continue to play, a central role in American history. It is a story that needs to be read by all those concerned with the many challenges facing America's cities today.

Considered one of the city's most notorious industrial slums in the 1940s and 1950s, Brownstone Brooklyn by the 1980s had become a post-industrial landscape of hip bars, yoga studios, and beautifully renovated, wildly expensive townhouses. In The Invention of Brownstone Brooklyn, Suleiman Osman offers a groundbreaking history of this unexpected transformation. Challenging the conventional wisdom that New York City's renaissance started in the 1990s, Osman locates the origins of gentrification in Brooklyn in the cultural upheavals of the 1960s and 1970s. Gentrification began as a grassroots movement led by young and idealistic white college graduates searching for "authenticity" and life outside the burgeoning suburbs. Where postwar city leaders championed slum clearance and modern architecture, "brownstoners" (as they called themselves) fought for a new romantic urban ideal that celebrated historic buildings, industrial lofts and traditional ethnic neighborhoods as a refuge from an increasingly technocratic society. Osman examines the emergence of a "slow-growth" progressive coalition as brownstoners joined with poorer residents to battle city planners and local machine politicians. But as brownstoners migrated into poorer areas, race and class tensions emerged, and by the 1980s, as newspapers parodied yuppies and anti-gentrification activists marched through increasingly expensive neighborhoods, brownstoners debated whether their search for authenticity had been a success or failure.

In this book, the authors “revisit” two iconic Brooklyn neighborhoods, Crown Heights-Prospect-Lefferts Gardens and Greenpoint-Williamsburg, where they have been active scholars since the 1970s. Krase and DeSena's comprehensive view from the street describes and analyses the neighborhoods' decline and rise with a focus on race and social class. They look closely at the strategies used to resist and promote neighborhood change and conclude with an analysis of the ways in which these neighborhoods contribute to current images and trends in Brooklyn. This book contributes to a better understanding of the elevated status of Brooklyn as a global city and destination place.

Brooklyn has seen exponential change over the past fifteen years, and this book presents the best work of the photographers from all over the world who have been capturing those changes and movements in cityscapes, portraits, vignettes, and process-oriented photography. Brooklyn Photographs Now reflects the avant-garde spirit of the city’s hippest borough, containing previously unpublished work by well-known and emerging contemporary artists. The book presents 250 images by more than seventy-five established and new artists, including Mark Seliger, Jamel Shabazz, Ryan McGinley, Mathieu Bitton, and Michael Eastman, among many others. The book documents the physical and architectural landscape and reflects and explores an off-centered—and therefore a less-seen and more innovative—perspective of how artists view this borough in the twenty-first century. This is the “now” Brooklyn that we have yet to see in pictures: what might seem to be an alternative city but is actually the crux of how it visually functions in the present day. This unique collection of images is the perfect book for the photo lover and sophisticated tourist alike.