As debate rages over the widening and destructive gap between the rich and the rest of Americans, Claude Fischer and his colleagues present a comprehensive new treatment of inequality in America. They challenge arguments that expanding inequality is the natural, perhaps necessary, accompaniment of economic growth. They refute the claims of the incendiary bestseller The Bell Curve (1994) through a clear, rigorous re-analysis of the very data its authors, Richard Herrnstein and Charles Murray, used to contend that inherited differences in intelligence explain inequality. Inequality by Design offers a powerful alternative explanation, stressing that economic fortune depends more on social circumstances than on IQ, which is itself a product of society. More critical yet, patterns of inequality must be explained by looking beyond the attributes of individuals to the structure of society. Social policies set the "rules of the game" within which individual abilities and efforts matter. And recent policies have, on the whole, widened the gap between the rich and the rest of Americans since the 1970s. Not only does the wealth of individuals' parents shape their chances for a good life, so do national policies ranging from labor laws to investments in education to tax deductions. The authors explore the ways that America--the most economically unequal society in the industrialized world--unevenly distributes rewards through regulation of the market, taxes, and government spending. It attacks the myth that inequality fosters economic growth, that reducing economic inequality requires enormous welfare expenditures, and that there is little we can do to alter the extent of inequality. It also attacks the injurious myth of innate racial inequality, presenting powerful evidence that racial differences in achievement are the consequences, not the causes, of social inequality. By refusing to blame inequality on an unchangeable human nature and an inexorable market--an excuse that leads to resignation and passivity--Inequality by Design shows how we can advance policies that widen opportunity for all.

Typecasting chronicles the emergence of the "science of first impression" and reveals how the work of its creators—early social scientists—continues to shape how we see the world and to inform our most fundamental and unconscious judgments of beauty, humanity, and degeneracy. In this groundbreaking exploration of the growth of stereotyping amidst the rise of modern society, authors Ewen & Ewen demonstrate "typecasting" as a persistent cultural practice. Drawing on fields as diverse as history, pop culture, racial science, and film, and including over one hundred images, many published here for the first time, the authors present a vivid portrait of stereotyping as it was forged by colonialism, industrialization, mass media, urban life, and the global economy.

How much does art provide escape from everyday life, and how much does it aid in controlling life? How are art worlds built and maintained? Are new styles the creations of whim or genius? Or are stylistic changes the product of the social and political world in which the artist lives? How does art itself shape these worlds? How are art worlds built

In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till. In 1979, anger brewed over a show at New York's Artists Space entitled The Nigger Drawings. In 1969, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest. Whitewalling: Art, Race & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world--no less than the country at large--has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three "acts" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak? Aruna D'Souza writes about modern and contemporary art, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, as well as in publications including the Wall Street Journal, ARTnews, Garage, Bookforum, Momus and Art Practical. D'Souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader.

"Examining the historical experience of different countries, a thought-provoking volume, taking on a global perspective to explain inequality the defining issue of our time reveals that our inability to act in concert, both rich and poor, is what is falling apart, not the world itself, and shows how it is within our power to address it, "--NoveList.

Leading economists and policymakers consider what economic tools are most effective in reversing the rise in inequality. Economic inequality is the defining issue of our time. In the United States, the wealth share of the top 1% has risen from 25% in the late 1970s to around 40% today. The percentage of children earning more than their parents has fallen from 90% in the 1940s to around 50% today. In Combating Inequality, leading economists, many of them current or former policymakers, bring good news: we have the tools to reverse the rise in inequality. In their discussions, they consider which of these tools are the most effective at doing so.