Readers won’t look at temperance the same way once they take Schrad’s inventive and persuasive thesis into account.
A wide-ranging, thoroughly revisionist history of the effort to ban alcohol from the public sphere across the globe.
“Both in the United States and around the world,” writes Villanova political science professor Schrad, “the true target of prohibitionism—the liquor traffic—was overwhelmingly the purview of powerful, white, self-identified Christians.” These purveyors of liquor found opponents in men and women who viewed the matter differently: Enslaving people to the addiction of alcohol helped the ruling class maintain control, subjugated colonial and marginalized peoples, and otherwise served the interests of both the wealthy minority and the state. Proclaimed Carrie Nation, tellingly, as she smashed the mirrors and glassware in saloon after saloon, “You wouldn’t give me the vote, so I had to use a rock!” Yet, as Schrad observes, Nation wasn’t above a glass of beer, even as a certain prohibitionist named V.I. Lenin, who denounced the imperial monopoly on liquor as the prop of a feeble and failing state, liked to quaff a brew himself from time to time. The author clearly and engagingly shows how the enemy wasn’t alcohol as such, but instead “the exploitative selling of addictive substances.” Activists, he writes, argued that propping up “moneyed elites upon the misery and addiction of society was no longer appropriate.” In this comprehensive, wholly convincing study, Schrad examines a number of famous prohibitionists, including Tolstoy, Gandhi, William Jennings Bryan, and even Theodore Roosevelt, the last of whom tempered his temperance leanings with the view that prohibition should be a local rather than federal affair. The author also links the prohibition movement to abolitionism, civil rights activism, anti-colonialism, and feminism, and he attributes the view of that movement as a collection of party poopers to our changing views of liberty, which have devolved to a kind of me-first, you-can’t-tell-me-what-to-do ethic as opposed to the notion of entire peoples living without chains.
Readers won’t look at temperance the same way once they take Schrad’s inventive and persuasive thesis into account.Pub Date: July 20, 2021
ISBN: 978-0-19-084157-7
Page Count: 736
Publisher: Oxford Univ.
Review Posted Online: April 20, 2021
Kirkus Reviews Issue: May 15, 2021
An overdue upending of art historical discourse.
An indispensable primer on the history of art, with an exclusive focus on women.
Prominent 19th-century art critic John Ruskin once proclaimed, “the woman’s intellect is not for invention or creation, but for sweet ordering, arrangement, and decision,” and traces of this misguided and malignant sentiment can still be found over a century later in art institutions around the world. A 2019 study found that “in the collections of eighteen major US art museums, 87 percent of artworks were by men, and 85 percent by white artists.” There’s a lot to be mad about, but London-based art historian Hessel nimbly pivots that energy into a constructive, revelatory project. This book is not a mere rebuttal to the aforementioned discrimination; deftly researched, the text reveals an alternate history of centuries of artistic movements. With palpable excitement, the author shifts the focus from widely known male participants to the unsung female players of the time. Art aficionados will delight in Hessel’s sleight of hand and marvel at her wide, inclusive reach. Spanning from Baroque art to the present day, she effortlessly removes “the clamour of men” and, in a series of short biographical profiles, shapes a historical arc that still feels grounded even without a familiar male presence. Art history must “reset,” Hessel writes, and she positions her book as an important first step in that reconfiguration. While the author progresses mostly movement by movement, her broader tangents are particularly profound. One of many highlights is a generous overview of queer artists of the Weimar era. Hessel is occasionally uneven with how much content she allots each artist, and some perfunctory profiles feel like the result of trying to highlight as many names as possible. Nonetheless, even the shortest gloss provides enough intrigue to be a successful introduction to an artist who might otherwise be forgotten.
An overdue upending of art historical discourse.Pub Date: May 2, 2023
ISBN: 9780393881868
Page Count: 512
Publisher: Norton
Review Posted Online: Feb. 16, 2023
Kirkus Reviews Issue: March 15, 2023
A welcome addition to the literature on immigration told by an author who understands the issue like few others.
The debut book from “one of the first undocumented immigrants to graduate from Harvard.”
In addition to delivering memorable portraits of undocumented immigrants residing precariously on Staten Island and in Miami, Cleveland, Flint, and New Haven, Cornejo Villavicencio, now enrolled in the American Studies doctorate program at Yale, shares her own Ecuadorian family story (she came to the U.S. at age 5) and her anger at the exploitation of hardworking immigrants in the U.S. Because the author fully comprehends the perils of undocumented immigrants speaking to journalist, she wisely built trust slowly with her subjects. Her own undocumented status helped the cause, as did her Spanish fluency. Still, she protects those who talked to her by changing their names and other personal information. Consequently, readers must trust implicitly that the author doesn’t invent or embellish. But as she notes, “this book is not a traditional nonfiction book….I took notes by hand during interviews and after the book was finished, I destroyed those notes.” Recounting her travels to the sites where undocumented women, men, and children struggle to live above the poverty line, she reports her findings in compelling, often heart-wrenching vignettes. Cornejo Villavicencio clearly shows how employers often cheat day laborers out of hard-earned wages, and policymakers and law enforcement agents exist primarily to harm rather than assist immigrants who look and speak differently. Often, cruelty arrives not only in economic terms, but also via verbal slurs and even violence. Throughout the narrative, the author explores her own psychological struggles, including her relationships with her parents, who are considered “illegal” in the nation where they have worked hard and tried to become model residents. In some of the most deeply revealing passages, Cornejo Villavicencio chronicles her struggles reconciling her desire to help undocumented children with the knowledge that she does not want "kids of my own." Ultimately, the author’s candor about herself removes worries about the credibility of her stories.
A welcome addition to the literature on immigration told by an author who understands the issue like few others.Pub Date: May 19, 2020
ISBN: 978-0-399-59268-3
Page Count: 208
Publisher: One World/Random House
Review Posted Online: Jan. 14, 2020
Kirkus Reviews Issue: Feb. 15, 2020
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