What is care? The Care Factory consists of six essays, each of which is an invitation to the reader to form an opinion on what care happens to be. Each chapter looks at care in a different setting, and a variety of psychoanalytic frameworks are employed on which to hang arguments. The eponymous first chapter investigates undergraduate courses in nursing and midwifery that have care on the syllabus. Is it possible to teach care? What if the person teaching care is not someone who cares? The second chapter is ‘Banquet of Crumbs’. If care can be experienced in any setting and at any time, is there anything that happens to those who care that we might regard as generic? What does caring do to the practitioners who care? The focus of ‘The Breaking of Wings’ is prisons and secure settings for children and adolescents. How do such institutions endorse and exhibit care? In ‘Nostalgia’s Engine’, the focus is on the care generated by successful group assimilation and the manufacture of nostalgia. Using the example of the punk movement of the 1970s, this chapter describes how organisations offer their participants communities of care, irrespective of their outward appearance of hostility. ‘Caring for Our Creations’ is about writing, and about one’s responsibilities for what one drafts into existence. This chapter is not so much about a narrative of care as the care of a narrative. Finally, ‘Take Care: A Coda’ represents a lesson on how one cares for oneself in an atmosphere of tension and bereavement anxiety.

Vols. 24, no. 3-v. 34, no. 3 include: International industrial digest.

"A Sophisticated, detailed account of the lives of Russian factory women during the formative years of Russian industrial capitalism. Glickman examines the interaction of class and gender that shaped the lives of women during this period of great, often tumultuous social, political, and economic change. Following women from the countryside into Russia's workshops and factories and describing their daily li9ves at work, in the family, and insociety, the author suggests that women's habits, aspirations, and expectations were scarcely altered in the transition from agrarian to industrial life."--Back cover

With humor, intelligence, and masterly prose, Lavanya Sankaran’s debut novel brilliantly captures the vitality and danger of a newly industrialized city and how it shapes the dreams and aspirations of two very different families. Anand is a Bangalore success story: successful, well married, rich. At least, that’s how he appears. But if his little factory is to grow, he needs land and money, and, in the New India, neither of these is easy to find. Kamala, Anand’s family’s maid, lives perilously close to the edge of disaster. She and her clever teenage son have almost nothing, and their small hopes for self-betterment depend on the contentment of Anand’s wife: a woman to whom whims come easily. But Kamala’s son keeps bad company, and Anand’s marriage is in trouble. The murky world where crime and land and politics meet is a dangerous place for a good man, particularly one on whom the well-being of so many depends. Rich with irony and compassion, Lavanya Sankaran’s The Hope Factory affirms her gifts as a born storyteller with remarkable prowess, originality, and wisdom. Praise for Lavanya Sankaran’s The Red Carpet “By the end of [the] very first story, people half a world away have been transformed into complete human beings, full of frailties and fragile self-regard, achingly sympathetic. That’s why The Red Carpet reads like a revelation. . . . I recommend this book so highly!”—Carolyn See, The Washington Post “Throughout these fine, articulate stories, Lavanya Sankaran brings to life the new and old social worlds of Bangalore. More important, she uses the quiet dignity of her characters to reveal what’s universal in the wide rift between generations. It’s an unusually elegant and nuanced portrait.”—John Dalton, author of The Inverted Forest “It’s a pity there aren’t more stories to be told in Carpet. They’re so much fun.”—The Dallas Morning News “[An] animated debut . . . [These stories] are memorable for their subtle wit and convincing evocation of a dynamic world.”—Publishers Weekly

Factory Made: Warhol and the Sixties is a fascinating look at the avant-garde group that came together—from 1964 to 1968—as Andy Warhol’s Silver Factory, a cast that included Lou Reed, Nico, Edie Sedgwick, Gerard Malanga, Paul Morrissey, Joe Dallesandro, Billy Name, Candy Darling, Baby Jane Holzer, Brigid Berlin, Ultra Violet, and Viva. Steven Watson follows their diverse lives from childhood through their Factory years. He shows how this ever-changing mix of artists and poets, musicians and filmmakers, drag queens, society figures, and fashion models, all interacted at the Factory to create more than 500 films, the Velvet Underground, paintings and sculpture, and thousands of photographs. Between 1961 and 1964 Warhol produced his most iconic art: the Flower paintings, the Marilyns, the Campbell’s Soup Can paintings, and the Brillo Boxes. But it was his films—Sleep, Kiss, Empire, The Chelsea Girls, and Vinyl—that constituted his most prolific output in the mid-1960s, and with this book Watson points up the important and little-known interaction of the Factory with the New York avant-garde film world. Watson sets his story in the context of the revolutionary milieu of 1960s New York: the opening of Paul Young’s Paraphernalia, Truman Capote’s Black and White Ball, Max’s Kansas City, and the Beautiful People Party at the Factory, among many other events. Interspersed throughout are Watson’s trademark sociogram, more than 130 black-and-white photographs—some never before seen—and many sidebars of quotes and slang that help define the Warholian world. With Factory Made, Watson has focused on a moment that transformed the art and style of a generation.

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