Between 1891 and 1920 more than 18 million immigrants entered the United States. While many Americans responded to this influx by proposing immigration restriction or large-scale "Americanization" campaigns, a few others, figures such as Jane Addams and John Dewey, adopted the image of the melting pot to oppose such measures. These Progressives imagined assimilation as a multidirectional process, in which both native-born and immigrants contributed their cultural gifts to a communal fund. Melting-Pot Modernism reveals the richly aesthetic nature of assimilation at the turn of the twentieth century, focusing on questions of the individual's relation to culture, the protection of vulnerable populations, the sharing of cultural heritages, and the far-reaching effects of free-market thinking. By tracing the melting-pot impulse toward merging and cross-fertilization through the writings of Henry James, James Weldon Johnson, Willa Cather, and Gertrude Stein, as well as through the autobiography, sociology, and social commentary of their era, Sarah Wilson makes a new connection between the ideological ferment of the Progressive era and the literary experimentation of modernism. Wilson puts literary analysis at the service of intellectual history, showing that literary modes of thought and expression both shaped and were shaped by debates over cultural assimilation. Exploring the depth and nuance of an earlier moment's commitment to cultural inclusiveness, Melting-Pot Modernism gives new meaning to American struggles to imaginatively encompass difference—and to the central place of literary interpretation in understanding such struggles.

Between 1897 and 1933 the presidents of the United States joined progressive reformers in redefining the concept of the United States as a melting pot. Their use of this metaphor to describe assimilation never meant that immigrants had to completely abandon their ethnic cultures. Instead, they argued that the melting pot blended the best of the immigrants traits and traditions to create a new American race united by patriotism and committed to liberal political and economic ideals. While nativists regarded new immigrants from southern and eastern Europe as incapable of assimilation, the presidents celebrated immigrant contributions to America and emphasized the need to improve immigrants' lives through education, resettlement away from urban ghettoes, and economic uplift. The president's speeches, letters, and administrative records reveal consistent support for the melting pot model as an alternative to nativist racism. While McKinley, Roosevelt, Taft and Wilson supported the exclusion of racial aliens and those with mental or physical illness, they repeatedly praised the new immigrants for embracing American ideals while maintaining their ethnic cultures. They argued that everyone should be judged by their moral character rather than their ancestry. World War I raised fears of disloyal aliens that Roosevelt and Wilson heightened by denouncing hyphenated Americans. Harding, Coolidge, and Hoover continued to use melting pot rhetoric, however, rather than endorsing coercive assimilation. The melting pot legacy lives on, and still offers a middle ground between the demands for national unity and multiculturalism.

The topics of Edward Shapiro's book span the gamut of the American Jewish experience: from the politics of American Jews, the nature of American Jewish identity, relations between Jews and blacks, and Jews and American capitalism. He discusses writer Herman Wouk; Patrick Buchanan and the Jews; John Higham's interpretation of American anti-Semitism, Nathan Glazer's view of American Orthodoxy, and the Jewishness of Sidney Hook. Of particular interest is the author's exploration of how American Jews have reconciled their dual identities as Americans and as Jews. These solutions has shaped the way Jews have voted, prayed, earned a living, married, and chosen a profession. America, Shapiro argues, has truly been different for Jews, but this difference has shaped the history of America's Jews in unexpected and ironic ways. The fact that Jews have risen rapidly up the economic and social ladder and have become politically influential has not eliminated their insecurity and the sense they have of themselves as a marginal group.

Twisted bodies, deformed faces, aberrant behavior, and abnormal desires characterized the hideous creatures of classic Hollywood horror, which thrilled audiences with their sheer grotesqueness. Most critics have interpreted these traits as symptoms of sexual repression or as metaphors for other kinds of marginalized identities, yet Angela M. Smith conducts a richer investigation into the period's social and cultural preoccupations. She finds instead a fascination with eugenics and physical and cognitive debility in the narrative and spectacle of classic 1930s horror, heightened by the viewer's desire for visions of vulnerability and transformation. Reading such films as Dracula (1931), Frankenstein (1931), Dr. Jekyll and Mr. Hyde (1931), Freaks (1932), and Mad Love (1935) against early-twentieth-century disability discourse and propaganda on racial and biological purity, Smith showcases classic horror's dependence on the narratives of eugenics and physiognomics. She also notes the genre's conflicted and often contradictory visualizations. Smith ultimately locates an indictment of biological determinism in filmmakers' visceral treatments, which take the impossibility of racial improvement and bodily perfection to sensationalistic heights. Playing up the artifice and conventions of disabled monsters, filmmakers exploited the fears and yearnings of their audience, accentuating both the perversity of the medical and scientific gaze and the debilitating experience of watching horror. Classic horror films therefore encourage empathy with the disabled monster, offering captive viewers an unsettling encounter with their own impairment. Smith's work profoundly advances cinema and disability studies, in addition to general histories concerning the construction of social and political attitudes toward the Other.