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With her analysis of the thirty-year campaign to reform and ultimately to end welfare, Gwendolyn Mink levels a searing indictment of anti-welfare politicians'assault on poor mothers. She charges that the basic elements of the new welfare policy subordinate poor single mothers in a separate system of law. Mink points to the racial, class, and gender biases of both liberals and conservatives to explain the odd but sturdy consensus behind welfare reforms that force the poor single mother to relinquish basic rights and compel her to find economic security in work outside the home. Mink explores how and why we should cure the unique inequality of poor single mothers by reorienting the emphasis of welfare policy away from regulating mothers to rewarding the work they do. Every mother is a working mother, the bumper sticker proclaims, but the work mothers do pays no wages. Mink argues that women's equality depends on economic support for caregivers'work. Welfare's End challenges the ways in which policymakers define the problem they seek to cure. While legislators assume that something is wrong with poor single mothers, Mink insists that something is wrong with a system that invades their rights and negates their work. Showing how welfare reform harms women, Mink invites the design of policies to promote gender justice.
Two-thirds of UK government spending now goes on the welfare state and where the money is spent – healthcare, education, pensions, benefits – is the centre of political and public debate. Much of that debate is dominated by the myth that the population divides into those who benefit from the welfare state and those who pay into it – 'skivers' and 'strivers', 'them' and 'us'. This ground-breaking book, written by one of the UK’s leading social policy experts, uses extensive research and survey evidence to challenge that view. It shows that our complex and ever-changing lives mean that all of us rely on the welfare state throughout our lifetimes, not just a small ‘welfare-dependent’ minority. Using everyday life stories and engaging graphics, Hills clearly demonstrates how the facts are far removed from the myths. This revised edition contains fully updated data, discusses key policy changes and a new preface reflecting on the changed context after the 2015 election and Brexit vote.
In this definitive work, two-time Pulitzer finalist Jason DeParle, author of A Good Provider Is One Who Leaves, cuts between the mean streets of Milwaukee and the corridors of Washington to produce a masterpiece of literary journalism. At the heart of the story are three cousins whose different lives follow similar trajectories. Leaving welfare, Angie puts her heart in her work. Jewell bets on an imprisoned man. Opal guards a tragic secret that threatens her kids and her life. DeParle traces their family history back six generations to slavery and weaves poor people, politicians, reformers, and rogues into a spellbinding epic. With a vivid sense of humanity, DeParle demonstrates that although we live in a country where anyone can make it, generation after generation some families don’t. To read American Dream is to understand why.
Silent Film and the Triumph of the American Myth connects the rise of film and the rise of America as a cultural center and twentieth-century world power. Silent film, Paula Cohen reveals, allowed America to sever its literary and linguistic ties to Europe and answer the call by nineteenth-century writers like Emerson, Thoreau and Whitman for an original form of expression compatible with American strengths and weaknesses. When film finally began to talk in 1927, the medium had already done its work. It had helped translate representation into a dynamic visual form and had "Americanized" the world. Cohen explores the way film emerged as an American medium through its synthesis of three basic elements: the body, the landscape, and the face. Nineteenth-century American culture had already charged these elements with meaning--the body through vaudeville and burlesque, landscape through landscape painting and moving panoramas, and the face through portrait photography. Integrating these popular forms, silent film also developed genres that showcased each of its basic elements: the body in comedy, the landscape in the western, and the face in melodrama. At the same time, it helped produce a new idea of character, embodied in the American movie star. Cohen's book offers a fascinating new perspective on American cultural history. It shows how nineteenth-century literature can be said to anticipate twentieth-century film--how Douglas Fairbanks was, in a sense, successor to Walt Whitman. And rather than condemning the culture of celebrity and consumption that early Hollywood helped inspire, the book highlights the creative and democratic features of the silent-film ethos. Just as notable, Cohen champions the concept of the "American myth" in the wake of recent attempts to discredit it. She maintains that American silent film helped consolidate and promote a myth of possibility and self-making that continues to dominate the public imagination and stands behind the best impulses of our contemporary world.
When Madam President moves into the Oval Office of the White House, she will share a path that several women have helped to pave. Often left off the history pages—and out of the minds of many Americans—are the presidential bids of several women: Margaret Chase Smith, 1964; Shirley Chisholm, 1972; Patricia Schroeder,1988; Elizabeth Dole, 2000; Carol Moseley Braun 2004; and Hillary Clinton, 2008/ 2016. Still Paving the Way for Madam President shows the progress women candidates have made as they have moved from symbolic candidates to viable candidates and in 2016, the Democratic nominee. This study shines a light on the persistent obstacles that face women candidates and offers insight into what it will take to finally shatter the seemingly impenetrable political glass ceiling.