The Battle for Children links two major areas of historical inquiry: crime and delinquency with war and social change. In a study based on impressive archival research, Sarah Fishman reveals the impact of the Vichy regime on one of history’s most silent groups—children—and offers enlightening new information about the Vichy administration.

Fishman examines how French children experienced the events of war and the German occupation, demonstrating that economic deprivation, not family dislocation, sharply drove up juvenile crime rates. Wartime circumstances led authorities to view delinquent minors as victims, and provided the opportunity for reformers in psychiatry, social work, and law to fundamentally transform France’s punitive juvenile justice system into a profoundly therapeutic one. Vichy-era legislation thus formed the foundation of the modern juvenile justice system in France, which rarely incarcerates delinquent youth.

In her examination of the critical but unexpected role the war and the authoritarian Vichy regime played in the transformation of France’s juvenile courts and institutions, Fishman has enriched our knowledge of daily life in France during World War II, refined our understanding of Vichy’s place in the historical development of France, and provided valuable insights into contemporary debates on juvenile justice.

Reopening the canons of the Beat Generation, Blows Like a Horn traces the creative counterculture movement as it cooked in the heat of Bay Area streets and exploded into spectacles, such as the scandal of the Howl trial and the pop culture joke of beatnik caricatures. Preston Whaley shows Beat artists riding the glossy exteriors of late modernism like a wave. Participants such as Lawrence Lipton, Lawrence Ferlinghetti, and at great personal cost, even Jack Kerouac, defied the traditional pride of avant-garde anonymity. They were ambitious to change the culture and used mass-mediated scandal, fame, and distortion to attract knowing consumers to their poetry and prose.

Blows Like a Horn follows the Beats as they tweaked the volume of excluded American voices. It watches vernacular energies marching through Beat texts on their migration from shadowy urban corners and rural backwoods to a fertile, new hyper-reality, where they warped into stereotypes. Some audiences were fooled. Others discovered truths and were changed.

Mirroring the music of the era, the book breaks new ground in showing how jazz, much more than an ambient soundtrack, shaped the very structures of Beat art and social life. Jazz, an American hybrid—shot through with an earned-in-the-woodshed, African American style of spontaneous intelligence—also gave Beat poetry its velocity and charisma. Blows Like a Horn plumbs the actions and the art of celebrated and arcane Beat writers, from Allen Ginsberg to ruth weiss. The poetry, the music, the style—all of these helped transform U.S. culture in ways that are still with us.