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"Hapke's book, remarkable in scope and inclusiveness, offers those concerned with American working people a mine of information about and analysis of the 'rich lived history of American laborers' as that has been represented in fictions of every kind. She provides an invaluable foundation for understanding the dirtiest of America's dirty big secrets: the pervasivness of class differences, class discrimination, indeed of class conflict in this, the wealthiest nation in history. Hers is an indispensable guided tour through more than a century and a half of literary representations of 'hands' at...

At an unprecedented and probably unique American moment, laboring people were indivisible from the art of the 1930s. By far the most recognizable New Deal art employed an endless frieze of white or racially ambiguous machine proletarians, from solo drillers to identical assembly line toilers. Even today such paintings, particularly those with work themes, are almost instantly recognizable. Happening on a Depression-era picture, one can see from a distance the often simplified figures, the intense or bold colors, the frozen motion or flattened perspective, and the uniformity of laboring bodies...

Arguing that the sweatshop is as American as apple pie, Laura Hapke surveys over a century and a half of the language, verbal and pictorial, in which the sweatshop has been imagined and its stories told. Not seeking a formal definition of the sort that policymakers are concerned with, nor intending to provide a strict historical chronology, this unique book shows, rather, how the "real" sweatshop has become intertwined with the "invented" sweatshop of our national imagination, and how this mixture of rhetoric and myth has endowed American sweatshops with rich and complex cultural meaning....

A Class of Its Own positions important and rediscovered American social protest authors within both a scholarly and student-centered context. The volume draws on the expertise and pedagogy of established and younger scholars who move gracefully from theories of what makes a text “working class” to how studies of class empower college teachers and courses. Among the authors discussed in the volume’s essays and prominent in the book’s syllabi section are Zora Neale Hurston, Stephen Crane, Agnes Smedley, and Ana Castillo.