Published in 1910, this was Addams's most successful book; 80,000 copies were sold before her death in 1935. This annotated edition was issued on the occasion of the Hull-House centennial. "Twenty Years at Hull-House is an indispensable classic of American intellectual and social history, and remains a rich source of provocative social theory. Jane Addams was both an activist of courage and 'a thinker of originality and daring.' Her life and writings exemplify the integration of social thought and action. Addams and her associates at Hull-House had wide-ranging influence not only on the key reform movements of their time but also on major currents of philosophical, sociological, and political thought. Filled with careful empirical observations, reflections on everyday life, accounts of practical action, and prescriptions for public policy, this small volume also embodies such important theoretical contributions as 'The Necessity of Social Settlement,' 'A Decade of Economic Discussion,' 'Tolstoyism,' and 'Problems of Poverty.' Long acclaimed for its autobiographical and historical value, Twenty Years at Hull-House should be read today as much for its enduring insights, critical analyses, and persuasive vision."--Bernice A. Carroll, editor of Liberating Women's History: Theoretical and Critical Essays

The richness of Victorian theatre has often been neglected because of the era's most celebrated productions of Shakespeare's plays. Judith L. Fisher and Stephen Watt present a vigorous collection of eighteen essays covering the vast expanse of this "other" theatre, including social dramas, Christmas pantomimes, and adaptations of Gothic novels such as "Guy Mannering" and "Metamora; or, The Last of the Wampanoags."
Reflecting both the longings and values of the public and the theatrical conventions of the times, Victorian productions could capture audiences with the historical verisimilitude of William Charles Macready's production of "Richelieu "or incite a storm of public outrage with the too explicitly fallen woman in Olga Nethersole's interpretation of "Sapho." Playwrights worked at adapting such popular classic works as "The Count of Monte Cristo" or devising new melodramas such as "Rent Day" and "Luke the Labourer." Pandering to the tastes of an expanding middle-class audience, theatre bills reflected popular fascination with the daily newspapers' stories of social maladies. Transposed to the stage, "bad" men and women could be punished for wrongdoings in a way that was unlikely or impossible in real life. Emphasizing the variety of stagecraft in the Victorian age, the contributors to "When They Weren't Doing Shakespeare" present a composite portrait of the vibrant theatrical worlds that existed in both nineteenth-century New York and London.