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Contents by Genre | |
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Foreword | |
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Acknowledgements | |
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Introduction | |
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A Note on Organization | |
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Bread, Land, and Station: Work and Class | |
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The Golf Links | |
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The Factory Girl | |
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The Farmer Is the Man | |
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Speech of January, 1840 | |
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from Bond and Free | |
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The Tartarus of Maids | |
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Casey Jones | |
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from Boxcar Bertha, An Autobiography | |
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Work Gangs | |
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Filling Station | |
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from Christ in Concrete | |
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Sixteen Tons | |
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Factory Work | |
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Sand | |
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The Apostate | |
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Hard Travelin' | |
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The Happiest Man on Earth | |
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from Yonnondio | |
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On the Line | |
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Field Trip to the Rolling Mill, 1950 | |
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For Maude Callen: Nurse Midwife, Pineville, NC, 1951 | |
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Playing in the Mines | |
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Bronzeville Woman in a Red Hat | |
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9 to 5 | |
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Ella, in a Square Apron, along Highway 80 | |
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Counting Tips | |
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from Inside the New York Telephone Company | |
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Womanwork | |
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Hanging In, Solo | |
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The Circuit | |
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So Mexicans Are Taking Jobs from Americans | |
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Field Poem | |
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His Own Society | |
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Latero Story | |
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The First Transplant | |
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McDonald's--We Do It All for You | |
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"Proud to Work for the University" | |
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Edison, New Jersey | |
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Clothes Make the Woman: The Social Dimensions of Class | |
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from Landscape for a Good Woman | |
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from Daughter of Earth | |
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from A New Home--Who'll Follow? | |
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Actress | |
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Up the Coule | |
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The Housekeeper's Lament | |
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A Mistaken Charity | |
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The Best China Saucer | |
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South of the Slot | |
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Bread and Roses | |
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Soap and Water | |
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The Ax-Helve | |
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from Weeds | |
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Bobbie | |
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from The House of Mirth | |
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To Elsie | |
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Dirge | |
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I Stand Here Ironing | |
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from Barrio Boy | |
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from The Group | |
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The Children | |
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As Children Together | |
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3 A.M. Kitchen: My Father Talking | |
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Visiting My Father in Florida | |
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Digger Goes on Vacation | |
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The Lesson | |
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Yale: Reflections on Class in New Haven | |
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Kiswana Browne | |
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Money and Luck | |
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Mama | |
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Mom Luby and the Social Worker | |
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from Betsey Brown | |
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Off from Swing Shift | |
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Galveston Bay | |
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You Can Have It | |
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Maybe | |
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Our Life Is More Than Our Work | |
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My Hometown | |
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Consumers, 1965 | |
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K Mart | |
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Mercedes-Benz | |
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Growing Up Upper Class | |
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The Rich: How They're Different ... Than They Used to Be | |
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Who Me, Rich? | |
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Rewards and Opportunities: The Politics and Economics of Class in the U.S. | |
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What Working Class Is About | |
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"Between the Workers and the Owners": Class Conflict | |
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Life in the Iron-Mills | |
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from The Gospel of Wealth | |
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How I Became a Socialist | |
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The Man with the Hoe | |
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The Preacher and the Slave | |
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Solidarity Forever | |
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from The Autobiography of Mother Jones | |
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Welfare Song | |
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The Triangle Fire | |
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War in Paterson | |
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from Jews Without Money | |
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I Want You Women Up North to Know | |
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Barn Burning | |
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from Southern Bitch | |
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Which Side Are You On? | |
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The Orange Bears | |
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Picket Line in Autumn | |
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In the Laundry Room | |
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from Night Shift in a Pickle Factory | |
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Pickle Belt | |
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He Was When He Died | |
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I Ain't Gonna Work on Maggie's Farm | |
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Subway Conversations | |
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The Boss | |
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More Than a Paycheck | |
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Subject to Change | |
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The World We Dreamed Of | |
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Allentown | |
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The Blue-Collar Millionaire | |
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Inland and the Titanic: A Comparison | |
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Classic or Classy: Art and Class | |
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from Culture and Anarchy | |
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from Culture and Society: 1780-1950 | |
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Publication--is the Auction | |
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A Wagner Matinee | |
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The Password to Thought--to Culture | |
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Johannesburg Mines | |
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The Weary Blues | |
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Ma Rainey | |
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The Diamond as Big as the Ritz | |
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I Was Marching | |
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from Talks at the Yenan Forum on Literature and Art | |
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Sing Me a Song with Social Significance | |
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The Americano from Luzon | |
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Art for Heart's Sake | |
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Mining Camp Residents, West Virginia, July, 1935 | |
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Why I Am Not a Painter | |
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Self-Portrait with Politics | |
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The Aesthetics of Line Work | |
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Heavy Machinery | |
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The Country of Everyday: Literary Criticism | |
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Miss Clairol | |
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The Cultural Worker | |
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Cowboy Poem | |
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May's Poem | |
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Why I Am a Poet | |
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Writing About Literature and Culture | |
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Credits | |
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For Further Study | |
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Index of Authors and Titles | |