A Financial Times Book of the Year “The strongest documentation I have seen for the many ways in which inequality is harmful to economic growth.” —Jason Furman “A timely and very useful guide...Boushey assimilates a great deal of recent economic research and argues that it amounts to a paradigm shift.” —New Yorker Do we have to choose between equality and prosperity? Decisions made over the past fifty years have created underlying fragilities in our society that make our economy less effective in good times and less resilient to shocks, such as today’s coronavirus pandemic. Many think tackling inequality would require such heavy-handed interference that it would stifle economic growth. But a careful look at the data suggests nothing could be further from the truth—and that reducing inequality is in fact key to delivering future prosperity. Presenting cutting-edge economics with verve, Heather Boushey shows how rising inequality is a drain on talent, ideas, and innovation, leading to a concentration of capital and a damaging under-investment in schools, infrastructure, and other public goods. We know inequality is fueling social unrest. Boushey shows persuasively that it is also a serious drag on growth. “In this outstanding book, Heather Boushey...shows that, beyond a point, inequality damages the economy by limiting the quantity and quality of human capital and skills, blocking access to opportunity, underfunding public services, facilitating predatory rent-seeking, weakening aggregate demand, and increasing reliance on unsustainable credit.” —Martin Wolf, Financial Times “Think rising levels of inequality are just an inevitable outcome of our market-driven economy? Then you should read Boushey’s well-argued, well-documented explanation of why you’re wrong.” —David Rotman, MIT Technology Review

Jerusalem’s formal political borders reveal neither the dynamics of power in the city nor the underlying factors that make an agreement between Israel and the Palestinians so difficult. The lines delineating Israeli authority are frequently different from those delineating segregated housing or areas of uneven service provision or parallel national electoral districts of competing educational jurisdictions. In particular, the city’s large number of holy sites and restricted religious compounds create enclaves that continually threaten to undermine the Israeli state’s authority and control over the city. This lack of congruity between political control and the actual spatial organization and everyday use of the city leaves many areas of occupied East Jerusalem in a kind of twilight zone where citizenship, property rights, and the enforcement of the rule of law are ambiguously applied. Michael Dumper plots a history of Jerusalem that examines this intersecting and multileveled matrix and in so doing is able to portray the constraints on Israeli control over the city and the resilience of Palestinian enclaves after forty-five years of Israeli occupation. Adding to this complex mix is the role of numerous external influences—religious, political, financial, and cultural—so that the city is also a crucible for broader contestation. While the Palestinians may not return to their previous preeminence in the city, neither will Israel be able to assert a total and irreversible dominance. His conclusion is that the city will not only have to be shared, but that the sharing will be based upon these many borders and the interplay between history, geography, and religion.

For too long melodrama has been associated with outdated and morally simplistic stereotypes of the Victorian stage; for too long film studies has construed it as a singular domestic genre of familial and emotional crises, either subversively excessive or narrowly focused on the dilemmas of women. Drawing on new scholarship in transnational theatrical, film, and cultural histories, this collection demonstrates that melodrama is a transgeneric mode that has long spoken to fundamental aspects of modern life and feeling. Pointing to melodrama’s roots in the ancient Greek combination of melos and drama, and to medieval Christian iconography focused on the pathos of Christ as suffering human body, the volume highlights the importance to modernity of melodrama as a mode of emotional dramaturgy, the social and aesthetic conditions for which emerged long before the French Revolution. Contributors articulate new ways of thinking about melodrama that underscore its pervasiveness across national cultures and in a variety of genres. They examine how melodrama has traveled to and been transformed in India, China, Japan, and South America, whether through colonial circuits or later, globalization; how melodrama mixes with other modes such as romance, comedy, and realism; and finally how melodrama has modernized the dramatic functions of gender, class, and race by orchestrating vital aesthetic and emotional experiences for diverse audiences.

Jeff Selingo, journalist and editor-in-chief of the Chronicle for Higher Education, argues that colleges can no longer sell a four-year degree as the ticket to success in life. College (Un)Bound exposes the dire pitfalls in the current state of higher education for anyone concerned with intellectual and financial future of America.

Describes the organizational aspects of contemporary society, explaining how organization occurs not only inside formal organizations, but also outside and among them.

It’s become commonplace in contemporary culture for critics to proclaim the death of poetry. Poetry, they say, is no longer relevant to the modern world, mortally wounded by the emergence of new media technologies. In Poetry Unbound, Mike Chasar rebuts claims that poetry has become a marginal art form, exploring how it has played a vibrant and culturally significant role by adapting to and shaping new media technologies in complex, unexpected, and powerful ways. Beginning with the magic lantern and continuing through the dominance of the internet, Chasar follows poetry’s travels off the page into new media formats, including silent film, sound film, and television. Mass and nonprint media have not stolen poetry’s audience, he contends, but have instead given people even more ways to experience poetry. Examining the use of canonical as well as religious and popular verse forms in a variety of genres, Chasar also traces how poetry has helped negotiate and legitimize the cultural status of emergent media. Ranging from Citizen Kane to Leave It to Beaver to best-selling Instapoet Rupi Kaur, this book reveals poetry’s ability to find new audiences and meanings in media forms with which it has often been thought to be incompatible. Illuminating poetry’s surprising multimedia history, Poetry Unbound offers a new paradigm for understanding poetry’s still evolving place in American culture.

Over half of all births to young adults in the United States now occur outside of marriage, and many are unplanned. The result is increased poverty and inequality for children. The left argues for more social support for unmarried parents; the right argues for a return to traditional marriage. In Generation Unbound, Isabel V. Sawhill offers a third approach: change "drifters" into "planners." In a well-written and accessible survey of the impact of family structure on child well-being, Sawhill contrasts "planners," who are delaying parenthood until after they marry, with "drifters," who are having unplanned children early and outside of marriage. These two distinct patterns are contributing to an emerging class divide and threatening social mobility in the United States. Sawhill draws on insights from the new field of behavioral economics, showing that it is possible, by changing the default, to move from a culture that accepts a high number of unplanned pregnancies to a culture in which adults only have children when they are ready to be a parent.