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“[Sennett] has ended up writing the best available contemporary defense of anarchism. . . . The issues [he] raises are fundamental and profound. His book is utopian in the best sense―it tries to define a radically different future and to show that it could be constructed from the materials at hand.” –Kenneth Keniston, New York Times Book Review The distinguished social critic Richard Sennett here shows how the excessively ordered community freezes adults―both the young idealists and their security-oriented parents―into rigid attitudes that stifle personal growth. He argues that the accepted ideal of order generates patterns of behavior among the urban middle classes that are stultifying, narrow, and violence-prone. And he proposes a functioning city that can incorporate anarchy, diversity, and creative disorder to bring into being adults who can openly respond to and deal with the challenges of life.

Between 1890 and 1930, Salt Lake City experienced some of the most rapid and profound changes of any city in U.S. history. In its pioneer period, from the beginning of white settlement in 1847 to about 1890, the city struggled against outside pressures to maintain its identity as a self-sufficient Mormon utopian community, with its theocratic government, agricultural economy, and polygamous society. But by the turn of the 20th century, Mormonism had largely abandoned those features, and Salt Lake City was becoming like most other American cities as it embraced capitalism, the evolution of transportation and industry, ethnic and cultural diversity, women's rights, and modern entertainment.

Sexual Antipodes is about how Enlightenment print culture built modern national and racial identity out of images of sexual order and disorder in public life. It examines British and French popular journalism, utopian fiction and travel accounts about South Sea encounter, pamphlet literature, and pornography, as well as more traditional literary sources on the eighteenth century, such as the novel and philosophical essays and tales. The title refers to a premise in utopian and exoticist fiction about the southern portion of the globe: sexual order defines the character of the state. The book begins by examining how the idea of sexual order operated as the principle for explaining national differences in eighteenth-century contestation between Britain and France. It then traces how, following British and French encounters with Tahiti, the comparison of different national sexual orders formed the basis for two theories of race: race as essential character and race as degeneration.

In paintings, murals, and book illustrations, Aaron Douglas (1899–1979) produced the most powerful visual legacy of the Harlem Renaissance, prompting the philosopher and writer Alain Locke to dub him the “father of Black American art.” Working from a politicized concept of personal identity and a utopian vision of the future, the artist made a lasting impact on American art history and on the nation’s cultural heritage. Douglas’s role, as well as that of the Harlem Renaissance in general, in the evolution of American modernism deserves close scholarly attention, which it finally receives in this beautifully illustrated book.   Douglas combined angular Cubist rhythms and seductive Art Deco dynamism with traditional African and African American imagery. The result was a radically new utopian visual vocabulary that evoked both current realities and hopes for a better future. Presenting more than ninety illustrations of Douglas’s works and the commentary of leading critics and historians, this book focuses on the artist’s career from the 1920s through the 1940s in relation to American modernism. Its authors argue that Douglas’s bold work opened doors for African American artists in Harlem and beyond, and that it invited a dialogue with modernism that put African American life, labor, and freedom, along with African traditions and motifs, at its center. New information emerges from these pages, reflecting the rich interchange between the visual arts, music, dance, literature, and politics that shaped Douglas’s work and also defined the Harlem Renaissance.

In paintings, murals, and book illustrations, Aaron Douglas (1899-1979) produced the most powerful visual legacy of the Harlem Renaissance, prompting the philosopher and writer Alain Locke to dub him the "father of Black American art." Working from a politicized concept of personal identity and a utopian vision of the future, the artist made a lasting impact on American art history and on the nation's cultural heritage. Douglas's role, as well as that of the Harlem Renaissance in general, in the evolution of American modernism deserves close scholarly attention, which it finally receives in this beautifully illustrated book. Douglas combined angular Cubist rhythms and seductive Art Deco dynamism with traditional African and African American imagery. The result was a radically new utopian visual vocabulary that evoked both current realities and hopes for a better future. Presenting more than ninety illustrations of Douglas's works and the commentary of leading critics and historians, this book focuses on the artist's career from the 1920s through the 1940s in relation to American modernism. Its authors argue that Douglas's bold work opened doors for African American artists in Harlem and beyond, and that it invited a dialogue with modernism that put African American life, labor, and freedom, along with African traditions and motifs, at its center. New information emerges from these pages, reflecting the rich interchange between the visual arts, music, dance, literature, and politics that shaped Douglas's work and also defined the Harlem Renaissance.

In paintings, murals, and book illustrations, Aaron Douglas (1899–1979) produced the most powerful visual legacy of the Harlem Renaissance, prompting the philosopher and writer Alain Locke to dub him the “father of Black American art.” Working from a politicized concept of personal identity and a utopian vision of the future, the artist made a lasting impact on American art history and on the nation’s cultural heritage. Douglas’s role, as well as that of the Harlem Renaissance in general, in the evolution of American modernism deserves close scholarly attention, which it finally receives in this beautifully illustrated book.   Douglas combined angular Cubist rhythms and seductive Art Deco dynamism with traditional African and African American imagery. The result was a radically new utopian visual vocabulary that evoked both current realities and hopes for a better future. Presenting more than ninety illustrations of Douglas’s works and the commentary of leading critics and historians, this book focuses on the artist’s career from the 1920s through the 1940s in relation to American modernism. Its authors argue that Douglas’s bold work opened doors for African American artists in Harlem and beyond, and that it invited a dialogue with modernism that put African American life, labor, and freedom, along with African traditions and motifs, at its center. New information emerges from these pages, reflecting the rich interchange between the visual arts, music, dance, literature, and politics that shaped Douglas’s work and also defined the Harlem Renaissance.