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Whether little Eddie's finding homes for a crowd of stray cats, or picketing the baseball team that says he's too little to play, his happy adventures are sure to win lots of friends

Conflict between Blacks and Koreans has increased in American cities during the past two decades. In this timely book, Claire Jean Kim investigates the most prolonged episode of such conflict―the Flatbush Boycott of 1990, when Black nationalist and Haitian activists led a boycott and picketing campaign against two Korean-owned produce stores in Flatbush, Brooklyn. Drawing on years of in-depth interviewing, Kim helps us understand why Black activists engage in such collective actions and why other parties respond as they do.Kim rejects conventional wisdom that Black-Korean conflict constitutes racial scapegoating, the irrational venting of Black rage on Korean merchants. She argues instead that it is in response to White dominance in American society, which generates a distinct racial order that encourages conflict among different groups, provokes racial resistance, and delegitimates and silences such resistance. Kim asserts that the Flatbush Boycott was part of a larger resurgence of Black Power activism in New York City, that Haitian immigrants mobilized out of overlapping transnational and racial identities, and that Korean Americans responded by launching a countermovement seeking to restore the status quo. Racial protests are inevitable, she says, as long as conditions of racial injustice prevail.

In 1950, Mexican American miners went on strike for fair working conditions in Hanover, New Mexico. When an injunction prohibited miners from picketing, their wives took over the picket lines--an unprecedented act that disrupted mining families but ultimately ensured the strikers' victory in 1952. In On Strike and on Film, Ellen Baker examines the building of a leftist union that linked class justice to ethnic equality. She shows how women's participation in union activities paved the way for their taking over the picket lines and thereby forcing their husbands, and the union, to face troubling questions about gender equality.Baker also explores the collaboration between mining families and blacklisted Hollywood filmmakers that resulted in the controversial 1954 film Salt of the Earth. She shows how this worker-artist alliance gave the mining families a unique chance to clarify the meanings of the strike in their own lives and allowed the filmmakers to create a progressive alternative to Hollywood productions. An inspiring story of working-class solidarity, Mexican American dignity, and women's liberation, Salt of the Earth was itself blacklisted by powerful anticommunists, yet the movie has endured as a vital contribution to American cinema.