A representative sampling of catalogue pages, advertising and illustration that display the toys, games and dolls of the period 1860-1930.

By the middle 1800s, toys were appearing in forms that drew upon--and that inspired--advances in areas such as optics, biology, geography, transportation, and automation. In these decades, too, a new type of wonder tale was being brought to maturity by a Poe-inspired Jules Verne. The modern wonder tale's highly-charged vision expressed the hopes and the fears, and the delights and the traumas, engendered by "new worlds idealism"--that Western pursuit of both mechanical and geographical conquest. Exploring realms belonging to childhood, literature, science, and history, this innovative study weaves together the histories of wonder tales and children's toys, focusing specifically on their modern aspects and how they reflect and express the social attitudes of that time period beginning around 1859 and ending around 1957.

The unqualified victory of consumerism in America was not a foregone conclusion. The United States has traditionally been the home of the most aggressive and often thoughtful criticism of consumption, including Puritanism, Prohibition, the simplicity movement, the '60s hippies, and the consumer rights movement. But at the dawn of the twenty-first century, not only has American consumerism triumphed, there isn't even an "ism" left to challenge it. An All-Consuming Century is a rich history of how market goods came to dominate American life over that remarkable hundred years between 1900 and 2000 and why for the first time in history there are no practical limits to consumerism. By 1930 a distinct consumer society had emerged in the United States in which the taste, speed, control, and comfort of goods offered new meanings of freedom, thus laying the groundwork for a full-scale ideology of consumer's democracy after World War II. From the introduction of Henry Ford's Model T ("so low in price that no man making a good salary will be unable to own one") and the innovations in selling that arrived with the department store (window displays, self service, the installment plan) to the development of new arenas for spending (amusement parks, penny arcades, baseball parks, and dance halls), Americans embraced the new culture of commercialism—with reservations. However, Gary Cross shows that even the Depression, the counterculture of the 1960s, and the inflation of the 1970s made Americans more materialistic, opening new channels of desire and offering opportunities for more innovative and aggressive marketing. The conservative upsurge of the 1980s and '90s indulged in its own brand of self-aggrandizement by promoting unrestricted markets. The consumerism of today, thriving and largely unchecked, no longer brings families and communities together; instead, it increasingly divides and isolates Americans. Consumer culture has provided affluent societies with peaceful alternatives to tribalism and class war, Cross writes, and it has fueled extraordinary economic growth. The challenge for the future is to find ways to revive the still valid portion of the culture of constraint and control the overpowering success of the all-consuming twentieth century.

Keep the information you need on playthings and pop culture at your fingertips! The Dictionary of Toys and Games in American Popular Culture is an A-to-Z reference guide to the playthings that amused us as children and fascinate us as adults. This enlightening—and entertaining—resource, complete with cross-references, provides easy access to concise but detailed descriptions that place toys and board games in their social and cultural contexts. From action figures to yo-yos, the book is your tour guide through the museum of sought-after collectibles and forgotten treasures that mirror the fads and fashions that helped define pop culture in the United States. The Dictionary of Toys and Games in American Popular Culture is a historical, yet current, reflection of society’s ever-changing attitudes toward childhood and its cultural touchstones. The book is filled with physical descriptions of each entry, including size, color, and material composition, and the age group most often associated with the item. It also includes biographical sketches of inventors, manufacturers, and distributors— a virtual “Who’s Who” of the American toy industry, including Milton Bradley, Walt Disney, and Jim Henson. With a brief glimpse through its pages or a lengthy look from cover to cover, you’ll discover (or re-discover) real hero action figures, toys with commercial tie-ins, fast-food promotional giveaways, penny prize package toys, and advertising icons and characters in addition to beloved toys and board games like Etch-a-Sketch®, Lincoln Logs®, Colorforms®, Yahtzee®, and Burp Gun, the first toy advertised on nationwide television. The Dictionary of Toys and Games in American Popular Culture presents easy-to-access and easy-to-read descriptions of such toys as: Barbie®, bendies, and Beanie Babies® Monopoly®, Mr. Machine®, and Mr. Potato Head™ Pez®, Plah-Doh®, and Pound Puppies® Scrabble®, Silly Putty®, and Slinky® Tiddly Winks®, Tinker Toys®, and Twister™ and looks at the people behind the scenes of the biggest names in toys, including LEGO® (Ole Kirk Christiansen) Fisher-Price® (Homer G. Fisher) Mattel® (Ruth and Elliott Handler) Hasbro™ (Alan, Merrill, and Stephen Hassenfeld) Toys R Us® (Charles Lazarus) Parker Brothers® (Edward and George Parker) F.A.O. Schwartz (Frederick Schwartz) Kenner® (Albert Steiner) Tonka® (Russell L. Wenkstern) The Dictionary of Toys and Games in American Popular Culture also includes an index and a selected bibliography to meet your casual or professional research needs. Faster (and more entertaining) than searching through a vast assortment of Web sites for information, the book is a vital resource for librarians, toy collectors and appraisers, popular culture enthusiasts, and anyone with an interest in toys—past and present.

How does the therapist begin psychotherapy? How, that is, does she conceptualize the needs of the patient while simultaneously enlisting him or her as an active partner in formulating an individualized working plan? And how should supervisors teach the skills needed to make the intake procedure truly the beginning of treatment? In Beginnings: The Art and Science of Planning Psychotherapy Mary Jo Peebles-Kleiger tackles these and other questions in an authoritative manner that draws on the cumulative experience of the outpatient department of the Menninger Psychiatric Clinic. Peebles-Kleiger outlines an approach that gives equal weight to the need for a diagnostic case formulation with specific treatment recommendations and the need to make the patient an active partner in the process right from the start. Clinicians of every persuasion will appreciate her sensitive, discerning grasp of the dyadic interaction of the inital sessions, when the therapist must refine preliminary hypotheses and simultaneously engage the patient in a process of discovery and self-reflection that lays the groundwork for the therapeutic alliance. Peebles-Kleiger's elegant synoptic discussions of the major categories of psychological dysfunction and the different treatment strategies appropriate to them are carefully calibrated, with actual examples, to the limits and opportunities of the first sessions. Of particular value is her unusual capacity to articulate patients' various difficulties in forming and maintaining an alliance, and then to show how such difficulties feed back into the clinician's interventions in the first few sessions. In this manner, she illustrates how potential treatment obstacles-- difficulties in affect regulation, in reality testing, in conscience formation, among others--can be assessed and subjected to trial interventions from the very start. Skilled in various psychodynamic and behavioral approaches, from psychoanalysis to hypnotherapy, Peebles-Kleiger consistently advances an integrative approach that cuts across specific modalities and combines sophisticated psychodynamic understanding with the fruits of empirical research. Both primer and sourcebook, Beginnings: The Art and Science of Planning Psychotherapy fills a niche in the literature so admirably that clinicians will find it indispensible in planning humanely responsive treatment in an increasingly complex therapeutic world.

The twentieth century was, by any reckoning, the age of the child in America. Today, we pay homage at the altar of childhood, heaping endless goods on the young, reveling in memories of a more innocent time, and finding solace in the softly backlit memories of our earliest years. We are, the proclamation goes, just big kids at heart. And, accordingly, we delight in prolonging and inflating the childhood experiences of our offspring. In images of the naughty but nice Buster Brown and the coquettish but sweet Shirley Temple, Americans at mid-century offered up a fantastic world of treats, toys, and stories, creating a new image of the child as "cute." Holidays such as Christmas and Halloween became blockbuster affairs, vehicles to fuel the bedazzled and wondrous innocence of the adorable child. All this, Gary Cross illustrates, reflected the preoccupations of a more gentle and affluent culture, but it also served to liberate adults from their rational and often tedious worlds of work and responsibility. But trouble soon entered paradise. The "cute" turned into "cool" as children, following their parental example, embraced the gift of fantasy and unrestrained desire to rebel against the saccharine excesses of wondrous innocence in deliberate pursuit of the anti-cute. Movies, comic books, and video games beckoned to children with the allures of an often violent, sexualized, and increasingly harsh worldview. Unwitting and resistant accomplices to this commercial transformation of childhood, adults sought-over and over again, in repeated and predictable cycles-to rein in these threats in a largely futile jeremiad to preserve the old order. Thus, the cute child-deliberately manufactured and cultivated--has ironically fostered a profoundly troubled ambivalence toward youth and child rearing today. Expertly weaving his way through the cultural artifacts, commercial currents, and parenting anxieties of the previous century, Gary Cross offers a vibrant and entirely fresh portrait of the forces that have defined American childhood.

Within the ephemera of the everyday--old photographs, circus posters, iron toys--lies a challenge to America's dominant cultural memory. What this memory has left behind, Bill Brown recovers in the "material unconscious" of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's disavowing appropriation of an emerging mass culture--from football games and freak shows to roller coasters and early cinema--the decade reappears as an underexposed moment in the genealogy of modernism and modernity. Brown's story begins on the Jersey Shore, in Asbury Park, where Crane became a writer in the shadow of his father, a grimly serious Methodist minister who vilified the popular amusements his son adored. The coastal resorts became the stage for debates about technology, about the body's visibility, about a black service class and the new mass access to leisure. From this snapshot of a recreational scene that would continue to inspire Crane's sensational modernism, Brown takes us to New York's Bowery. There, in the visual culture established by dime museums, minstrel shows, and the Kodak craze, he exhibits Crane dramatically obscuring the typology of race. Along the way, Brown demonstrates how attitudes toward play transformed the image of war, the idea of childhood and nationhood, and the concept of culture itself. And by developing a new conceptual apparatus (with such notions as "recreational time," "abstract leisure," and the "amusement/knowledge system"), he provides the groundwork for a new politics of pleasure. A crucial theorization of how cultural studies can and should proceed, The Material Unconscious insists that in the very conjuncture of canonical literature and mass culture, we can best understand how proliferating and competing economies of play disrupt the so-called "logic" and "work" of culture.