Kay S. Hymowitz

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Kay S. Hymowitz


Born
Philadelphia, The United States

Average rating: 3.38 · 542 ratings · 103 reviews · 13 distinct worksSimilar authors
Manning Up: How the Rise of...

3.21 avg rating — 377 ratings — published 2011 — 8 editions
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The New Brooklyn: What It T...

3.84 avg rating — 73 ratings — published 2017 — 4 editions
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Marriage and Caste in Ameri...

3.89 avg rating — 57 ratings — published 2006 — 5 editions
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Ready Or Not: What Happens ...

3.75 avg rating — 12 ratings — published 1999 — 7 editions
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Marriage and Caste in Ameri...

3.70 avg rating — 10 ratings — published 2007
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Liberation's Children: Pare...

2.45 avg rating — 11 ratings — published 2003 — 6 editions
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[(Manning Up: How the Rise ...

it was amazing 5.00 avg rating — 1 rating
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Manning Up: How the Rise of...

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[( Manning Up )] [by: Kay S...

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Liberation's Children : Par...

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“The child-man, then, is the lost son of a host of economic and cultural changes: the demographic shift I call preadulthood, the Playboy philosophy, feminism, the wild west of our new media, and a shrugging iffiness on the subject of husbands and fathers. He has no life script, no special reason to grow up. Of course, you shouldn't feel too bad for him; he's having a good enough time.”
Kay Hymowitz, Manning Up: How the Rise of Women Has Turned Men into Boys

“Adults don't emerge. They're made.”
Kay Hymowitz
tags: mature

“But by the late twentieth century, with more Americans going to college, making more money, and, thanks to more affordable airfares, traveling to Europe and Asia, the market for art was expanding, as were the number of artists.18 A growing educated middle class had the money to support the ballooning number of galleries. David Brooks had noticed the blending of bohemian and bourgeois—or “bobo”—sensibilities in 2000.19 Gentrified neighborhoods are the urban habitus of the bobo, and art galleries are about as good a signifier of gentrification as wine and coffee bars. In fact, many wine and coffee bars in gentrified areas are art galleries where a revolving cast of local artists display their work. By the mid-2000s, “a new kind of ambition was taking hold,” writes Ann Fensterstock of Williamsburg in Art on the Block, a history of the turn-of-the-millennium New York art scene. There was “a thirst for critical attention in the wider, increasingly international art world. The notion of producing art for profit was no longer anathema.”
Kay S. Hymowitz, The New Brooklyn: What It Takes to Bring a City Back

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