From the hard-boiled detective stories of Dashiell Hammett to the novels of Claude McKay, The Word on the Streets examines a group of writers whose experimentation with the vernacular argues for a rethinking of American modernism—one that cuts across traditional boundaries of class, race, and ethnicity. The dawn of the modernist era witnessed a transformation of popular writing that demonstrated an experimental practice rooted in the language of the streets. Emerging alongside more recognized strands of literary modernism, the vernacular modernism these writers exhibited lays bare the aesthetic experiments inherent in American working-class and ethnic language, forging an alternative pathway for American modernist practice. Brooks Hefner shows how writers across a variety of popular genres—from Gertrude Stein and William Faulkner to humorist Anita Loos and ethnic memoirist Anzia Yezierska—employed street slang to mount their own critique of genteel realism and its classist emphasis on dialect hierarchies, the result of which was a form of American experimental writing that resonated powerfully across the American cultural landscape of the 1910s and 1920s.

The definition of Street Ignorance: What You Know, What You Think You Know, and What You Don’t Know About the Streets By: Terry T. Ruffin When we hear of someone being called ignorant, it doesn't necessarily mean that the person is stupid; it may mean that the person is unaware or lacks the comprehension of the subject or things that are being specified. The definition of Street Ignorance is a compilation of writings on the reality checks of street life and the ignorant behavior that one may present while out in the streets, living lawless and displaying unconscious rational thinking errors through drug dealing, drug addiction, ignoring the true dangers of street life and the consequences that one will suffer if faced with street ignorance and unknown federal laws. Not only is The definition of Street Ignorance an eye-opening read, but it’s necessary. This book not only brings awareness but it also advocates a genuine interest in the lives of those who are exposed to negative lifestyles such as drug dealing, drug using, possessing firearms, gangs, and violence.

A "Bible" that talks today's language - gritty, earthy, witty - A "Bible" for those who've never read the Bible, and for those who've read it too much.

For those who have never read the Bible, and for those who've read it "too much" comes a fresh, urban paraphrased version, straight from the streets of the United Kingdom.

The book studies the social production of motion in a capitalist urban context. In the city of capital, motion refers to a fetish. The bourgeois order posits motion as a metaphor for energy, positivity, and progress – a norm – and obstruction (motion's dialectical opposite) as delinquency. The book uncovers the social tectonics of spatial mobilization and thus demystifies motion. Who and what set spaces on the move? How did various classes of city dwellers activate, experience, and negotiate it? Streets in Motion develops an approach to urban history by theorizing and historicizing the 'street' as an apparatus of city-making and subject formation. It works at two registers – a local history of Calcutta in colonial and post-colonial periods, and a theorizing of the logistical and political-cultural centrality of the street within this rubric. It is argued that the street is politics in as much as politics is the production of space.

2017 American Book Award Winner from the Before Columbus Foundation In 1911, a fire at the Triangle Shirtwaist Factory in New York City took the lives of 146 workers, most of them young immigrant women and girls. Their deaths galvanized a movement for social and economic justice then, but today’s laborers continue to battle dire working conditions. How can we bring the lessons of the Triangle fire back into practice today? For artist Ruth Sergel, the answer was to fuse art, activism, and collective memory to create a large-scale public commemoration that invites broad participation and incites civic engagement. See You in the Streets showcases her work. It all began modestly in 2004 with Chalk, an invitation to all New Yorkers to remember the 146 victims of the fire by inscribing their names and ages in chalk in front of their former homes. This project inspired Sergel to found the Remember the Triangle Fire Coalition, a broad alliance of artists and activists, universities and unions—more than 250 partners nationwide—to mark the 2011 centennial of the infamous blaze. Putting the coalition together and figuring what to do and how to do it were not easy. This book provides a lively account of the unexpected partnerships, false steps, joyous collective actions, and sustainability of such large public works. Much more than an object lesson from the past, See You in the Streets offers an exuberant perspective on building a social art practice and doing public history through argument and agitation, creativity and celebration with an engaged public.