Sweatshop

In this up-close and personal look at the heroines who make family, community, and society tick, Miriam Ching Yoon Louie showcases immigrant women workers speaking out for themselves, in their own words. While public outrage over sweatshops builds in intensity, this book shows us who these workers really are and how they are leading campaigns to fight for their rights. In-depth, accessible analyses of the immigration, labor, and trade policies, which together have forced these women into the most dangerous, poorly paid jobs, dovetail with vivid portraits of the women themselves. Louie, a longtime writer/activist and well-known figure in feminist, immigrant, and labor circles, is uniquely poised to make her case: that the labor of immigrant women worker-activists not only sustains families and communities, but the vibrant social activism that undergirds democracy itself. With chapters on successful campaigns against Levi-Strauss, Donna Karan, and restaurants in Los Angeles; Koreatown, among others. Miriam Ching Yoon Louie is a longtime writer/activist in campaigns to organize women of color. She is national campaign media director of Fuerza Unida, a board member of the Women of Color Resource Center, and former media director of Asian Immigrant Women Advocates. Her essays and articles on immigrant women and labor issues have been widely anthologized, including in the 1997 collection Dragon Ladies: Asian American Feminists Breathe Fire (South End Press) and she speaks at public events internationally. She is the co-author, with Linda Burnham, of Women's Education in the Global Economy (Women of Color Resource Center, 2000).

For over a century, the sweatshop has evoked outrage and moral repugnance. Once cast as a type of dangerous and immoral garment factory brought to American shores by European immigrants, today the sweatshop is reviled as emblematic of the abuses of an unregulated global economy. This collection unites some of the best recent work in the interdisciplinary field of sweatshop studies. It examines changing understandings of the roots and problems of the sweatshop, and explores how the history of the American sweatshop is inexorably intertwined with global migration of capital, labor, ideas and goods. The American sweatshop may be located abroad but remains bound to the United States through ties of fashion, politics, labor and economics. The global character of the American sweatshop has presented a barrier to unionization and regulation. Anti-sweatshop campaigns have often focused on local organizing and national regulation while the sweatshop remains global. Thus, the epitaph for the sweatshop has frequently been written and re-written by unionists, reformers, activists and politicians. So, too, have they mourned its return.

Arguing that the sweatshop is as American as apple pie, Laura Hapke surveys over a century and a half of the language, verbal and pictorial, in which the sweatshop has been imagined and its stories told. Not seeking a formal definition of the sort that policymakers are concerned with, nor intending to provide a strict historical chronology, this unique book shows, rather, how the "real" sweatshop has become intertwined with the "invented" sweatshop of our national imagination, and how this mixture of rhetoric and myth has endowed American sweatshops with rich and complex cultural meaning. Hapke uncovers a wide variety of tales and images that writers, artists, social scientists, reformers, and workers themselves have told about "the shop." Adding an important perspective to historical and economic approaches, Sweatshop draws on sources from antebellum journalism, Progressive era surveys, modern movies, and anti-sweatshop websites. Illustrated chapters detail how the shop has been a facilitator of assimilation, a promoter of upward mobility, the epitome of exploitation, a site of ethnic memory, a venue for political protest, and an expression of twentieth-century managerial narratives. An important contribution to the real and imagined history of garment industry exploitation, this book provides a valuable new context for understanding contemporary sweatshops that now represent the worst expression of an unregulated global economy.

"Analyses the politics of production and labour control characterizing the Indian readymade garment industry since its entry into the global arena"--

This book explores how sweatshops provide the best opportunity to workers and the role they play in the process of development.

Sweatshop Women is an exciting and contemporary collection of prose and poetry written by women from Indigenous, migrant and refugee backgrounds. In this second volume, Australia's most urgent new voices return to reclaim their stories of culture, sovereignty and diaspora.

In the early 1900s, thousands of immigrants labored in New Yorks Lower East Side sweatshops, enduring work environments that came to be seen as among the worst examples of Progressive-Era American industrialization. Although reformers agreed that these unsafe workplaces must be abolished, their reasons have seldom been fully examined. Sweated Work, Weak Bodies is the first book on the origins of sweatshops, exploring how they came to represent the dangers of industrialization and the perils of immigration. It is an innovative study of the language used to define the sweatshop, how these definitions shaped the first anti-sweatshop campaign, and how they continue to influence our current understanding of the sweatshop.

Mel Bowling is the unhappy, out-of-touch creator of a very bad, daily newspaper comic strip called Freddy Ferret (a cross between Dilbert and Garfield). He spends most of his time listening to Rush Limbaugh and coming up with horrible catchphrases to merchandise, while his “sweatshop” cast of studio assistants grind out all the hard work.Sweatshop is a hilarious situational comedy from acclaimed author Peter Bagge (Buddy Does Seattle, Woman Rebel: The Margaret Sanger Story) that ingeniously incorporates the visual styles of cartoonist guest stars like Stephen DeStefano (Popeye) and Johnny Ryan (Prison Pit) to give voice to Bowling’s colorful cast of misfit, aspiring cartoonists (plus a cameo by Neil Gaiman!), all attempting to make it big like their boss, but on their own terms.