Clifford Mason’s Macbeth in Harlem traces how African-American theater artists shaped theater in the United States, beginning in the early 19th century and ending in the mid-20th century. Mason reveals how events gave rise to different Black performers and movements, beginning with Harlem’s particular contributions to Broadway and concluding with a discussion of the post-World War II conditions that gave rise to Lorraine Hansberry’s 1959 play A Raisin in The Sun.
American Capitalism: New Histories, edited by Sven Beckert and Christine Desan, encapsulates the diverse, expansive historical work that has come to define the NHC in the decade since it first burst onto the historiographical scene in the wake of the 2007 financial crisis. In their brisk introduction to the volume, Beckert and Desan sketch the intellectual genealogies of NHC scholarship and lay out its program in broad strokes, necessary given the wide variety of scholarship brought together in American Capitalism.
At this moment, the United States confronts multiple crises. COVID-19 has killed more than 200,000 people and infected more than six million, though these numbers are certainly undercounted. The virus’s impact, though indiscriminate, is disproportionately felt in communities of color who are more likely to experience serious illness, hospitalization, and death.
Party Profits: Political Machines as Money-Making Ventures in Gilded Age New York
Reviewed by Atiba Pertilla
The 2020 presidential campaign is coming to a close with controversies swirling over the alleged and established entanglement of the two main candidates, Joe Biden and Donald Trump, in a variety of schemes to use their political position to benefit themselves or their families. At the heart of these concerns lies a conviction that profiting from political connections is a primary driver of Americans’ loss of faith in their elected representatives. Electoral Capitalism, a new book by Jeffrey Broxmeyer, focuses on public graft and political machines in Gilded Age New York and is a timely look at how earlier voters faced similar questions.
Thomas J. Shelley has added to his already substantial oeuvre of New York Catholic history with the publication of Upper West Side Catholics: Liberal Catholicism in a Conservative Archdiocese: The Church of the Ascension, New York City, 1895-2020 (New York: Empire State Editions, 2020).[1] His deep and broad understanding of New York’s Catholic institutions provides the context for his study of the Church of the Ascension, which was founded in 1895 on the Upper West Side. While his history of Ascension starts from its founding, Shelley’s book offers an extended view of the neighborhood during the 1960s and 1970s, a period when demographic transition overlapped with economic decline and produced immense political conflicts that destabilized New York’s institutions, including the Catholic Church.
During the 1970s and 1980s, the South Bronx was the epicenter of American “ruin.” In the popular imagination, flames engulfed acres of developed cityscape; poverty and violence mingled with the remains of abandoned buildings; and a crack epidemic degenerated entire neighborhoods.
Erich Goode’s Taming of New York’s Washington Square: A Wild Civility
Reviewed By Stephen Petrus
Even during COVID-19, New York’s Washington Square Park maintains its quirky identity. Chances are on a visit you’ll still encounter locals, tourists, buskers, sunbathers, NYU students, dog walkers, chess players, homeless people, petty drug dealers, and maybe even Fartman, Pigeon Man, and the Squirrel Whisperer.
Island Gospel: Pentecostal Music and Identity in Jamaica and the United States
Review by Ray Allen
Writing about musical performance during the time of COVID-19 gives me pause, as it does, no doubt, for all of us who revel in live music. Whether we choose to raise our voices in praise of the deities or to drum and dance to the most sensual rhythms, the act of communal music making is, at its core, a celebration of our deepest humanity. Michael Butler’s Island Gospel is a keen reminder of this reality, and leaves us longing for the day when we can again gather in places of worship, dance halls, clubs, concert venues, and street fetes for the simple joy of making music together.
The Toughest Gun Control Law in the Nation: The Unfulfilled Promise of New York’s SAFE Act
Reviewed by Andrew C. McKevitt
When Governor Andrew Cuomo pushed a new gun control law, the Secure Ammunition and Firearms Enforcement (SAFE) Act, through the New York State Assembly in January 2013, just a month after the tragic mass shooting at Sandy Hook Elementary in Newtown, Connecticut, critics said he acted in haste. Cuomo’s administration started drafting a bill before the New Year; it submitted the bill to the Assembly on January 13 and, utilizing a rare emergency measure, the governor signed it an incredible 18 hours later.
New York is layered with ghosts. “It carries on its lapel,” E.B. White wrote, “the unexpungeable odor of the long past, so that no matter where you sit in New York you feel the vibrations of great times and tall deeds, of queer people and events and undertakings.” Holed up in the Algonquin Hotel, White compiled a brief compendium: “I am twenty-two blocks from where Rudolph Valentino lay in state, eight blocks from where Nathan Hale was executed, … thirty-four blocks from the street Willa Cather lived in when she came to New York to write books about Nebraska … (I could continue this list indefinitely); and for that matter I am probably occupying the very room that any number of exalted and somewise memorable characters sat in, some of them on hot, breathless afternoons, lonely and private and full of their own senses of emanations from without.”
