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During the Second World War, the U.S. Bureau of the Census published a novel population density map for the U.S. that used minor civil divisions as its areal basis. Prior to that time, the national-level area measurements required to calculate densities for such sub-county units were unavailable. The data that enabled the production of the map published in 1942 were collected by clerical workers who were employed as part of a joint project between the Census Bureau and the Works Progress Administration. The area measurements, made using planimeters, were used with 1940 Census of Population data to compute densities that are represented on the map using a choropleth technique.

Stetson Kennedy (1916-2011) was one of the premier dissident writers in the United States in the generation before the emergence of the modern civil rights movement. Yet, despite his extensive work in oral history as a former supervisor of the Works Progress Administration unit on folklore, oral history, and social-ethnic studies in Florida, surprisingly little has been written on Kennedy's oral history methods. This essay connects Stetson Kennedy's radical politics with his experience interviewing generations of narrators who lived on the margins of the New South. Kennedy's classic works, such as Palmetto Country, Southern Exposure, and Jim Crow Guide, had deep social impact because they were based on an intellectual approach that privileged the voices of ordinary people.

In bioarchaeological contexts involving interpretations of impairment and disability, scholars can benefit by engaging with the literature from other fields, particularly Disability Studies (DS), to better understand the complexities and nuances of these terms. In this chapter, definitions of impairment and disability are introduced from a number of perspectives, including academic scholarship, as well the World Health Organization (WHO) and the Americans with Disabilities Act of 1990 (ADA). While impairment has typically been identified by bioarchaeologists as paleopathological in nature, some frameworks from DS expand this definition to include social components. The nuances of these terms are applied to an archaeological case study from a Mississippian site in East Tennessee and describe the remains of a woman who presented a lifelong musculoskeletal impairment of her upper and lower limbs. This impairment would have restricted her ability to move around the landscape in the same way as her peers. Despite these physical differences, her mortuary treatment was not markedly different from other members in her community and does not appear to fit a recent definition of deviant burial practices proposed by Tsaliki (2008). While mortuary data are vital to better understand impairment and disability in the past, bioarchaeologists must be careful to not over interpret the subtle, and simultaneously, marked differences between these two concepts.

This chapter contains sections titled: The Move to the Cities, 1900–1920 The Prosperity Decade The New Deal The War and After The Postwar Settlements References and Further Reading

This bookexamines the involvement of African American artists in the New Deal art programs of the 1930s. Emphasizing broader issues informed by the uniqueness of Black experience rather than individual artists’ works, Mary Ann Calo makes the case that the revolutionary vision of these federal art projects is best understood in the context of access to opportunity, mediated by the reality of racial segregation. Focusing primarily on the Federal Art Project (FAP) of the Works Progress Administration (WPA), Calo documents African American artists’ participation in community art centers in Harlem, in St. Louis, and throughout the South. She examines the internal workings of the Harlem Artists’ Guild, the Guild’s activities during the 1930s, and its alliances with other groups, such as the Artists’ Union and the National Negro Congress. Calo also explores African American artists’ representation in the exhibitions sponsored by WPA administrators and the critical reception of their work. In doing so, she elucidates the evolving meanings of the terms race, culture, and community in the interwar era. The book concludes with an essay by Jacqueline Francis on Black artists in the early 1940s, after the end of the FAP program. Presenting essential new archival information and important insights into the experiences of Black New Deal artists, this study expands the factual record and positions the cumulative evidence within the landscape of critical race studies. It will be welcomed by art historians and American studies scholars specializing in early twentieth-century race relations.

Alive with the exuberance, contradictions, and variety of the Golden State, this Depression-era guide to California is more than 700 pages of information that is, as David Kipen writes in his spirited introduction, \"anecdotal, opinionated, and altogether habit-forming.\" Describing the history, culture, and roadside attractions of the 1930s, the WPA Guide to California features some of the very best anonymous literature of its era, with writing by luminaries such as San Francisco poet Kenneth Rexroth, composer-writer- hobo Harry Partch, and authors Tillie Olsen and Kenneth Patchen.