—Hélène Barthélemy focuses on the criminal justice system, activism and culture.
"Work It! The New Face of Labor in Fashion" by Annemarie Strassel. Dissent,Spring 2014.
Increasing poverty is making the difference between previously defined "good jobs" and "bad jobs" more tenuous. While the poor are more and more disenfranchised, the creative classes are similarly losing ground. This article describes unionizing efforts across professions and countries in the fashion world, highlighting the commonality of the struggle between more privileged laborers (models), unpaid interns and overseas factory workers, all of which represent different degrees of precarious labor. As many have said in the past, the precariat, which unites the traditional working class to freelancers, temp-workers and interns, has revolutionary potential. The objective is now for all to work together and build links across unions, to organize and make pressure in idiosyncratic ways to advance popular interest, raise wages for low-wage workers (fifteen now!) and ensure better working conditions for all, while not forgetting to use this widened platform to give a voice to the more powerless.
—Summer Concepcion focuses on race, gender and criminal justice.
“The Prisoner's Daughter,” by Albert Samaha. The Village Voice, June 10, 2014.
Because prison has the effect of dehumanizing the people in them, stories that put a human face to the prison experience often prove to be especially worthwhile. "The Prisoner's Daughter" sheds light on Amanda Rosario, a young woman whose father has been in prison for as long as she can remember. Despite the distance and time that passes, Rosario continues to hold onto the relationship she has with her father and sees him well beyond the "criminal" label.
—Erin Corbett focuses on national security and reproductive rights.
"American Exceptionalism and American Innocence: The Misleading History and Messages of the 9/11 Memorial Museum"by Patrick L. Smith. Salon, June 9, 2014.
While briefly seeing some debate over the 9/11 Memorial Museum as a commercial product, I came across Patrick Smith’s piece at Salon.com, where he discusses the museum as an exploitation of “tragedy, confus[ing] history with ideology.” I thought this piece was interesting, as he uncovers the complexities of layering memory, history and grief, as well as Smith’s discussion of the ways in which memorials, known as “sites of memory,” often tell us HOW to remember events.