Lou's school year is off to a rocky start. Her BFF, Mina, won’t speak to her, but a new friend, Mary Emily, never shuts up. Lou's mom and her new boyfriend are madly in love, but all their smooching is starting to get on Lou's nerves. Meanwhile, a wrecking ball is smashing down the apartment that used to belong to her beloved Tristan. Lou still has a friend in Paul, if she can just work up the courage to write him a letter. Life was a lot easier when dressing up in her pink princess gown and going to the park for ice cream would solve any problem. Is it any wonder that Lou is down in the dumps?

Mucking around in the messy terrain of American trash, Jani Scandura tells the story of the United States during the Great Depression through evocative and photo-rich portraits of four locales: Reno, Key West, Harlem, and Hollywood. In investigating these Depression-era “dumps,” places that she claims contained and reclaimed the cultural, ideological, and material refuse of modern America, Scandura introduces the concept of “depressive modernity,” an enduring affective component of American culture that exposes itself at those moments when the foundational myths of America and progressive modernity—capitalism, democracy, individualism, secularism, utopian aspiration—are thrown into question. Depressive modernity is modernity at a standstill. Such a modernity is not stagnant or fixed, nor immobile, but is constituted by an instantaneous unstaging of desire, territory, language, and memory that reveals itself in the shimmering of place. An interpretive bricolage that draws on an unlikely archive of 1930s detritus—office memos, scribbled manuscripts, scrapbooks, ruined photographs, newspaper clippings, glass eyes, incinerated stage sets, pulp novels, and junk washed ashore—Down in the Dumps escorts its readers through Reno’s divorce factory of the 1930s, where couples from across the United States came to quickly dissolve matrimonial bonds; Key West’s multilingual salvage economy and its status as the island that became the center of an ideological tug-of-war between the American New Deal government and a politically fraught Caribbean; post-Renaissance Harlem, in the process of memorializing, remembering, grieving, and rewriting a modernity that had already passed; and Studio-era Hollywood, Nathanael West’s “dump of dreams,” in which the introduction of sound in film and shifts in art direction began to transform how Americans understood place-making and even being itself. A coda on Alcatraz and the Pentagon brings the book into the present, exploring how American Depression comes to bear on post-9/11 America.

We are all in the dumps For diamonds are thumps The kittens are gone to St. Paul's! The baby is bit The moon's in a fit And the houses are built Without walls Jack and Guy Went out in the Rye And they found a little boy With one black eye Come says Jack let's knock Him on the head No says Guy Let's buy him some bread You buy one loaf And I'll buy two And we'll bring him up As other folk do Two traditional rhymes from Mother Goose, ingeniously joined and interpreted by Maurice Sendak.

There is a killer at work in the sleepy village of Cedar Falls. The peaceful order of puppet-maker Polly Deacon's back-to-nature rural life is violently interrupted when she finds her best friend Francy's abusive husband lying dead in the dump with a hole in his chest.

DIVA cultural studies account of America during the 1930s as seen through Key West, Harlem, Hollywood, and Reno./div

A boy befriends a young caveman in this modern children’s classic of friendship and adventure. Barney isn’t supposed to go near the chalk pit. His grandmother and sister both told him the edge could give way and he could fall in—but what else is he supposed to do on a miserable gray day? It’s not long before Barney falls into the pit and bumps his head. But where he lands is more than an old garbage dump: It’s a home. There’s a little hut built out of discarded junk, and more surprisingly, there’s a boy, about Barney’s age, inside. He speaks in grunts instead of English, wears a rabbit-skin loincloth, has shaggy black hair, and might be named something that sounds like “Stig.” Barney befriends him immediately. Together, Barney and Stig go on all sorts of adventures, building a chimney for Stig’s hut, joining a foxhunt, stopping robbers, and catching a leopard escaped from the circus! Barney and Stig’s escapades have been delighting children for more than fifty years, while addressing important topics such as bullying, recycling, and language barriers. This timeless classic is sure to captivate readers young and old with its wit, imagination, and sense of adventure.