PM Press

Anarchists believe that the point of society is to widen the choices of individuals. Anarchism is opposed to states, armies, slavery, the wages system, the landlord system, prisons, capitalism, bureaucracy, meritocracy, theocracy, revolutionary governments, patriarchy, matriarchy, monarchy, oligarchy, and every other kind of coercive institution. In other words, anarchism opposes government in all its forms.

Enlarged and updated for a modern audience, What Is Anarchism? has the making of a standard reference book. As an introduction to the development of anarchist thought, it will be useful not only to propagandists and proselytizers of anarchism but also to teachers and students of political theory, philosophy, sociology, history, and to all who want to uncover the basic core of anarchism.

This useful compendium, compiled and edited by the late Vernon Richards of Freedom Press, with additional selections by Donald Rooum, includes extracts from the work of Errico Malatesta, Peter Kropotkin, Max Stirner, Emma Goldman, Charlotte Wilson, Michael Bakunin, Rudolf Rocker, Alexander Berkman, Colin Ward, Albert Meltzer, and many others.

Author and Wildcat cartoonist Donald Rooum gives context to the selections with introductions looking at “What Anarchists Believe,” “How Anarchists Differ,” and “What Anarchists Do” and provides helpful and humorous illustrations throughout the book.

At the end of the millennium, thousands of homeless people roamed the streets of Manhattan. A small group of them went underground. Invisible to society, they managed to start a new life in the tunnel systems of the city.

Acclaimed war photographer and cultural anthropologist Teun Voeten gained unprecedented access to this netherworld. For five months in 1994 and 1995 he lived, slept and worked in the tunnel. With him, we meet Vietnam veterans, macrobiotic hippies, crack addicts, Cuban refugees, convicted killers, computer programmers, philosophical recluses and criminal runaways. Voeten describes their daily work, problems and pleasures with humor and compassion. He also witnessed the end of tunnel life. The tunnel people were evicted in 1996, but Amtrak and homeless organizations offered them alternative housing.

Some succeeded in starting again above ground, while others failed. In this updated version of the book, Voeten tracks down the original tunnel dwellers and describes what has happened in the thirteen years since they left the tunnels.

Up a Creek, With a Paddle is an intimate and often humorous memoir by the author of Lies My Teacher Told Me, James W. Loewen, who holds the distinction of being the best-selling living sociologist today. Rivers are good metaphors for life, and paddling for living. In this little book, Loewen skillfully makes these connections without sermonizing, resulting in nuggets of wisdom about how to live, how to act meaningfully, and perhaps how to die. Loewen also returns to his life’s work and gently addresses the origins of racism and inequality, the theory of history, and the ties between the two. But mostly, as in his life, he finds rueful humor in every canoeing debacle—and he has had many!

We Have Not Been Moved is a compendium addressing the two leading pillars of U.S. Empire. Inspired by the work of Dr. Martin Luther King Jr., who called for a “true revolution of values” against the racism, militarism, and materialism which he saw as the heart of a society “approaching spiritual death,” this book recognizes that—for the most part—the traditional peace movement has not been moved far beyond the half-century-old call for a deepening critique of its own prejudices. While reviewing the major points of intersection between white supremacy and the war machine through both historic and contemporary articles from a diverse range of scholars and activists, the editors emphasize what needs to be done now to move forward for lasting social change. Produced in collaboration with the War Resisters League, the book also examines the strategic possibilities of radical transformation through revolutionary nonviolence.

Among the historic texts included are rarely-seen writings by antiracist icons such as Anne Braden, Barbara Deming, and Audre Lorde, as well as a dialogue between Dr. King, revolutionary nationalist Robert F. Williams, Dave Dellinger, and Dorothy Day. Never-before-published pieces appear from civil rights and gay rights organizer Bayard Rustin and from celebrated U.S. pacifist supporter of Puerto Rican sovereignty Ruth Reynolds. Additional articles making their debut in this collection include new essays by and interviews with Fred Ho, Jose Lopez, Joel Kovel, Francesca Fiorentini and Clare Bayard, David McReynolds, Greg Payton, Gwendolyn Zoharah Simmons, Ellen Barfield, Jon Cohen, Suzanne Ross, Sachio Ko-Yin, Edward Hasbrouck, Dean Johnson, and Dan Berger. Other contributions include work by Andrea Dworkin, Mumia Abu-Jamal, Starhawk, Andrea Smith, John Stoltenberg, Vincent Harding, Liz McAlister, Victor Lewis, Matthew Lyons, Tim Wise, Dorothy Cotton, Ruth Wilson Gilmore, Kenyon Farrow, Frida Berrigan, David Gilbert, Chris Crass, and many others. Peppered throughout the anthology are original and new poems by Chrystos, Dylcia Pagan, Malkia M’Buzi Moore, Sarah Husein, Mary Jane Sullivan, Liz Roberts, and the late Marilyn Buck.

From Derrick Jensen, acclaimed author of Endgame and The Culture of Make Believe, comes a prescient, thought-provoking collection of interviews with ten leading writers, philosophers, teachers, and activists.

To function in this society, we are asked to live by lies: that humans have the right to take what they want from the earth without giving back, that knowledge is limited to that which can be quantified, that corporations and governments know what is best for our future. Our instinctive outrage at environmental collapse, political conspiracy, and corporate corruption is stifled by the double-speak of popular opinion telling us that the “progress” of civilization demands unquestioning allegiance to those in power. But the brave voices in Truths Among Us seek to help us acknowledge the values we know in our hearts are right—and inspire within us the courage to act on them.

Among those who share their wisdom here is acclaimed sociologist Stanley Aronowitz, who shows us that science is but one lens through which we can discover knowledge. Luis Rodriguez, poet and peacemaker, asks us to embrace gang members as people instead of stereotypes, while the brilliant Judith Herman helps us gain a deeper understanding of the psychology of abusers in whatever form they may take. Paul Stamets reveals the power of fungi, whose intelligence, like that of so many nonhumans, is often ignored. And writer Richard Drinnon reminds us that our spiritual paths need not be narrowed by the limiting mythologies of Western civilization.

Following How Shall I Live My Life? and Resistance Against Empire, Jensen's third collection of interviews reinforces a simple premise with which he has long challenged his readers: if we shut our ears and eyes to the cacophony of consumption-oriented distractions and pause to listen to the wisdom of our own hearts, the truths among us will reveal themselves.

Interviewees include: George Gerbner, Stanley Aronowitz, Luis Rodriguez, Judith Herman, John Keeble, Richard Drinnon, Paul Stamets, Marc Ian Barasch, Martín Prechtel, and Jane Caputi.

We Are the Crisis of Capital collects articles and excerpts written by radical academic, theorist, and activist John Holloway over a period of forty years. This collection asks, “Is there a way out?” How do we break capital, a form of social organisation that dehumanises us and threatens to annihilate us completely? How do we create a world based on the mutual recognition of human dignity?

Holloway’s work answers loudly, “By screaming NO!” By thinking from our own anger and creativity. By trying to recover the “we” buried under the categories of capitalist thought. By opening those categories and discovering the antagonism they conceal and by discovering that behind the concepts of money, state, capital, crisis, and so on, there moves our resistance-and-rebellion.

An approach sometimes referred to as Open Marxism, it is an attempt to rethink Marxism as daily struggle. The articles move forward, influenced by the German state derivation debates of the 1970s, by the CSE debates in Britain, and the group around the Edinburgh journal Common Sense, and then moving on to Mexico and the wonderful stimulus of the Zapatista uprising, and now the continuing whirl of discussion with colleagues and students in the Posgrado de Sociología of the Benemérita Universidad Autónoma de Puebla.

Having grown up in late-sixties South Central Los Angeles, Gary Phillips vividly recalls stories of what happened to brothers who ran afoul of the “polices” of the 77th Division. Small wonder that in his teens he organized against police abuse, later became active in the antiapartheid movement, was down against the contras, did duty as a labor rep, worked for a political action committee, and taught incarcerated youth. So of course matters of race, class, and the social fabric, along with influences of blaxploitation films and Jack Kirby comic books, permeate his crime and mystery stories. The Underbelly is a novella about a semi-homeless Vietnam vet searching for a disabled friend gone missing from Skid Row. It’s a solo sortie where the flashback-prone protagonist must deal with gentrification, kick-ass community organizers, an elderly sexpot, a magical skull, chronic-lovin’ knuckleheads, and the perils of chili-cheese fries at midnight. The Underbelly is illustrated with photos and drawings.

Plus...
A rollicking interview wherein Phillips riffs on Ghetto Lit, politics, noir and the proletariat, the good negroes and bad knee-grows of pop culture, Redd Foxx and Lord Buckley, and wrestles with the future of books in the age of want.

Grounded in painstaking research, To Defend the Revolution Is to Defend Culture revisits the circumstances which led to the arts being embraced at the heart of the Cuban Revolution. Introducing the main protagonists to the debate, this previously untold story follows the polemical twists and turns that ensued in the volatile atmosphere of the 1960s and ’70s. The picture that emerges is of a struggle for dominance between Soviet-derived approaches and a uniquely Cuban response to the arts under socialism. The latter tendency, which eventually won out, was based on the principles of Marxist humanism. As such, this book foregrounds emancipatory understandings of culture.

To Defend the Revolution Is to Defend Culture takes its title from a slogan – devised by artists and writers at a meeting in October 1960 and adopted by the First National Congress of Writers and Artists the following August – which sought to highlight the intrinsic importance of culture to the Revolution. Departing from popular top-down conceptions of Cuban policy-formation, this book establishes the close involvement of the Cuban people in cultural processes and the contribution of Cuba’s artists and writers to the policy and praxis of the Revolution. Ample space is dedicated to discussions that remain hugely pertinent to those working in the cultural field, such as the relationship between art and ideology, engagement and autonomy, form and content. As the capitalist world struggles to articulate the value of the arts in anything other than economic terms, this book provides us with an entirely different way of thinking about culture and the policies underlying it.

The Paris Commune of 1871, the first instance of a working-class seizure of power, has been subject to countless interpretations; reviled by its enemies as a murderous bacchanalia of the unwashed while praised by supporters as an exemplar of proletarian anarchism in action. As both a successful model to be imitated and as a devastating failure to be avoided. All of the interpretations are tendentious. Historians view the working class’s three-month rule through their own prism, distant in time and space. Voices of the Paris Commune takes a different tack. In this book only those who were present in the spring of 1871, who lived through and participated in the Commune, are heard.

The Paris Commune had a vibrant press, and it is represented here by its most important newspaper, Le Cri du Peuple, edited by Jules Vallès, member of the First International. Like any legitimate government, the Paris Commune held parliamentary sessions and issued daily printed reports of the heated, contentious deliberations that belie any accusation of dictatorship. Included in this collection is the transcript of the debate in the Commune, just days before its final defeat, on the establishing of a Committee of Public Safety and on the fate of the hostages held by the Commune, hostages who would ultimately be killed.

Finally, Voices of the Paris Commune contains a selection from the inquiry carried out twenty years after the event by the intellectual review La Revue Blanche, asking participants to judge the successes and failures of the Paris Commune. This section provides a fascinating range of opinions of this epochal event.

Visions of Abolition is a new feature length documentary about the prison industrial complex and the prison abolition movement.

Part I, “Breaking down the Prison Industrial Complex” weaves together the voices of women caught in the criminal justice system and leading scholars of prison abolition, examining the racial and gendered violence of the prison system. Our film features the work of Susan Burton, a formerly incarcerated mother who established A New Way of Life, a group of transition homes for women coming home from prison in South Los Angeles (39 mins).

Part II, “Abolition: Past, Present, and Future” documents the recent history of the prison abolition movement through the organizing efforts of Critical Resistance and explores the meaning of abolitionist politics. By focusing on the collaboration between Critical Resistance and A New Way of Life, (known as the L.E.A.D. Project) the second half of the film unfolds a vision of abolition in practice (48 mins).

Interviews in the video include: Melissa Burch, Susan Burton, Angela Davis, Ruth Wilson Gilmore, Dylan Rodríguez, and Andrea Smith

The modern traffic system is ecologically unsustainable, emotionally stressful, and poses a physical threat to individuals and communities alike. Traffic is not only an ecological and social problem but also a political one. Modern traffic reproduces the rule of the state and capital and is closely linked to class society. It is a problem of power. At its core lies the notion of “automobility,” a contradictory ideal of free movement closely linked to a tight web of regulations and control mechanisms. This is the main thesis of the manifesto The Traffic Power Structure, penned by the Sweden-based activist network Planka.nu.

Planka.nu was founded in 2001 to fight for free public transport. Thanks to creative direct action, witty public interventions, and thought-provoking statements, the network has become a leading voice in Scandinavian debates on traffic. In its manifesto, Planka.nu presents a critique of the automobile society, analyzes the connections between traffic, the environment, and class, and outlines its political vision. The topics explored along the way include Bruce Springsteen, high-speed trains, nuclear power, the security-industrial complex, happiness research, and volcano eruptions. Planka.nu rejects demands to travel ever-longer distances in order to satisfy our most basic needs while we lose all sense for proximity and community. The Traffic Power Structure argues for a different kind of traffic in a different kind of world.

The book has received several awards in Sweden and has been hailed by Swedish media as a “manifesto of striking analytical depth, based on profound knowledge and a will to agitation that demands our respect” (Ny Tid).

One yellow April morning, a 17 year old girl asks herself, “Do I dare to eat a peach?" Three different answers will send her down three very different paths.

That morning is long past. Now she is 41.

Kitty Trevelyan has been happily married 23 years. Happily enough. Until her professor asks her for coffee and kisses her.

Dr. Katherine North's memory of two lovers chafes her like a hair shirt. After reading one has died, she contacts the other—only to discover that she has been renounced for God.

Ántonia searches the sea-horizon every evening. In the last light, she can glimpse it: a feminist Utopia built on an abandoned oil rig, led by her charismatic and bipolar lover. Her lost Eden made by Eves.

Who are we? Who haven't we been? Have we dared? Three of one woman's possible lives are about to collide.

In This Is How We Survive: Revolutionary Mothering, War, and Exile in the 21st Century, Mai’a Williams shares her experiences working in conflict zones and with liberatory resistance communities as a journalist, human rights worker, and midwife in Palestine, Egypt, Chiapas, Berlin, and the U.S., while mothering her young daughter Aza.

She first went to Palestine in 2003 during the Second Intifada to support Palestinians resisting the Israeli occupation. In 2006, she became pregnant in Bethlehem, West Bank. By the time her daughter was three years old, they had already celebrated with Zapatista women in southern Mexico and survived Israeli detention, and during the 2011 Arab Spring they were in the streets of Cairo protesting the Mubarak dictatorship. She watched the Egyptian revolution fall apart and escaped the violence, like many of her Arab comrades, by moving to Europe. Three years later, she and Aza were camping at Standing Rock in protest of the Dakota Access Pipeline and co-creating revolutionary mothering communities once again.

This is a story about mothers who are doing the work of deep social transformation by creating the networks of care that sustain movements and revolutions. By centering mothers in our organizing work, we center those who have the skills and the experience of creating and sustaining life on this planet. This Is How We Survive illuminates how mothering is a practice essential to the work of revolution. It explores the heartbreak of revolutionary movements falling apart and revolutionaries scattering across the globe into exile. And most importantly, how mamas create, no matter the conditions, the resilience to continue doing revolutionary work.

For the last decade, Venezuela’s “Bolivarian Revolution” has captured international attention. Poverty, inequality, and unemployment have all dropped, while health, education, and living standards have seen a commensurate rise. The international mainstream media has focused predominantly on Venezuela’s controversial leader, President Hugo Chavez, who has routinely been in the headlines. But without the active participation of large and diverse sectors of society, Chavez’s moment on the scene would have ended long ago.

Venezuela Speaks!: Voices from the Grassroots is a collection of interviews with activists and participants from across Venezuela’s social movements. From community media to land reform; cooperatives to communal councils, from the labor movement to the Afro-Venezuelan network, Venezuela Speaks! sheds light on the complex realities within the Bolivarian Revolution. These interviews offer a compelling oral history of Venezuela’s democratic revolution, from the bottom up.

Venezuela: Revolution from the Inside Out is a voyage into Latin America’s most exciting experiment of the new millennium, exploring the history and projects of the Bolivarian Revolution through interviews with a range of its participants, from academics to farm workers and those living in the margins of Caracas. This introduction to the “revolución bonita” (“pretty revolution”) offers in-depth interviews, unforgettable images and a lively soundtrack that will open new vistas onto this hopeful human project.

As he totes his camera on bus and car trips all over Venezuela, director Clifton Ross becomes our tour guide through the Bolivarian Revolution. He sweeps us through its history and takes us to its works-in-progress on the ground. These schools, rural lending banks and cooperatives weave the fabric of Venezuela’s “Socialism of the 21st Century.” They show its failures and successes, its warp and woof. Through it all runs the frayed but unbreakable thread of a people in struggle.

Extras Include: Meeting Chavez (10 minutes) and Message to the North American People (12 minutes).

Featuring: Dr. Steve Ellner, Universidad de Oriente, Puerto La Cruz; José Sant Roz, Universidad Socialista del Pueblo, Mérida; Jutta Schmitt, Universidad de los Andes, Mérida; Christene DeJong, Center for Latin American Studies, University of California, Berkeley; Roger Burbach, Director of the Center for the Study of the Americas, Berkeley, CA.

The innovative novels and stories of Michael Blumlein, MD, have introduced new levels of both terror and wonder into the fiction of scientific speculation. His work as a medical researcher and internist at San Francisco’s UCSF Medical Center informs his tales of biotech, epigenetics, brain science, and what it means to be truly if only temporarily human.

Two of the most venerable figures on the American Left—Howard Zinn and Noam Chomsky—converse with Sasha Lilley about their lives and political philosophies, looking back at eight decades of struggle and theoretical debate. Howard Zinn, interviewed shortly before his death, reflects on the genesis of his politics, from the civil rights and anti-Vietnam War movements to opposing empire today, as well as history, art, and activism. Noam Chomsky discusses the evolution of his libertarian socialist ideals since childhood, his vision for a future post-capitalist society, and his views on the state, science, the Enlightenment, and the future of the planet.

Of all political views, anarchism is the most ill-represented. For more than thirty years, in over thirty books, Colin Ward patiently explained anarchist solutions to everything from vandalism to climate change—and celebrated unofficial uses of the landscape as commons, from holiday camps to squatter communities. Ward was an anarchist journalist and editor for almost sixty years, most famously editing the journal Anarchy. He was also a columnist for New Statesman, New Society, Freedom, and Town and Country Planning.

In Talking Anarchy, Colin Ward discusses with David Goodway the ups and downs of the anarchist movement during the last century, including the many famous characters who were anarchists, or associated with the movement, including Herbert Read, Alex Comfort, Marie Louise Berneri, Paul Goodman, Noam Chomsky, and George Orwell.

Until the Rulers Obey brings together voices from the movements behind the wave of change that swept Latin America at the turn of the twenty-first century. These movements have galvanized long-silent—or silenced—sectors of society: indigenous people, campesinos, students, the LGBT community, the unemployed, and all those left out of the promised utopia of a globalized economy. They have deployed a wide range of strategies and actions, sometimes building schools or clinics, sometimes occupying factories or fields, sometimes building and occupying political parties to take the reins of the state, and sometimes resisting government policies in order to protect their newfound power in community.

This unique collection of interviews features five dozen leaders and grassroots activists from fifteen countries presenting their work and debating pressing questions of power, organizational forms, and relations with the state. They have mobilized on a wide range of issues: fighting against mines and agribusiness and for living space, rural and urban; for social space won through recognition of language, culture, and equal participation; for community and environmental survival. The book is organized in chapters by country with each chapter introduced by a solidarity activist, writer, or academic with deep knowledge of the place. This indispensable compilation of primary source material gives participants, students, and observers of social movements a chance to learn from their experience.

Contributors include ACOGUATE, Luis Ballesteros, Marc Becker, Margi Clarke, Benjamin Dangl, Mar Daza, Mickey Ellinger, Michael Fox, J. Heyward, Raphael Hoetmer, Hilary Klein, Diego Benegas Loyo, Courtney Martinez, Chuck Morse, Mario A. Murillo, Phil Neff, Fabíola Ortiz dos Santos, Hernán Ouviña, Margot Pepper, Adrienne Pine, Marcy Rein, Christy Rodgers, Clifton Ross, Susan Spronk, Marie Trigona, Jeffery R. Webber, and Raúl Zibechi.

This is the untold story of the Russian Revolution: its antecedents, its far-reaching changes, its betrayal by Bolshevik terror, and the massive resistance of non-Bolshevik revolutionaries. This in-depth, eyewitness history written by Voline, an outspoken activist in the Russian Revolution, is accompanied by a biography of the author by Rudolf Rocker and a contemporary introduction by anarchist historian Iain McKay.

Significant attention is given to what the author describes as “struggles for the real Social Revolution”; that is, the uprising of the sailors and workers of Kronstadt in 1921, and the peasant movement that Nestor Makhno led in Ukraine. These movements, which sought to defend the social revolution from destruction by the politicians, provide important material for a clearer understanding of both the original objectives of the Russian Revolution and the problems with which all revolutions with far-reaching social objectives have to contend.

Drawing on the revolutionary press of the time, Voline reveals the deep cleavage between the objectives of the libertarians and those of the Bolsheviks, differences which the latter “resolved” by ruthlessly eliminating all who stood in their way in the struggle for power.

This edition is a translation of the full text of La Révolution inconnue, originally published in French in 1947. It reinstates material omitted from earlier English-language editions and reproduces the complete text of the original volumes.

“For my parents and grandparents, Jewish identity, in religion, culture and language, was a given. Not so for me. I’m not religious, not a Zionist, so in what consists my Jewishness? Is a love of chopped liver and a belief that chicken soup cures all ills enough? And does it matter? This is the story of my search for answers. It is an argument with myself, with song lyrics to embellish the argument.”

Like so many of those others in Britain of Jewish lineage, songwriter and award-winning folk singer Leon Rosselson is descended from antecedents who fled pogroms in eastern Europe. Pertinently, he questions what being a Jew means—is it adherence to Judaism as a religion, an ethnicity, a citizen of Israel, or someone who eats “chicken soup with knedlach”? He describes clearly and with historical insight how any concept of “Jewishness” can involve all of those things and more. In his own life, he has decided to pick and choose from this tradition and history and build on what he deems to be the progressive, humane, and universalist values of that Jewish background.

Rosselson is a strong supporter of Palestinian rights, seeing in the victimization of Palestinians by the state of Israel parallels with historical Jewish persecution. He concludes this short essay by stating: “I share with the growing number of Jews in the diaspora who place solidarity with the oppressed above demands of tribalism and with those in Israel who dare to stand against the powers that be.”

Nisi Shawl’s steampunk-flavored alternate history of the “Belgian” Congo, Everfair, has taken the science fiction and fantasy world by storm. No surprise there. Their swift, sure, and savvy short stories had already established them as a cutting-edge Afrofuturist icon whose politically charged fiction is in the grand feminist tradition of Ursula K. Le Guin, Octavia Butler, and Suzy McKee Charnas.

In these previously uncollected stories, Shawl explores the unexpected possibilities and perils opened up by SF&F’s new intersectionality. In Shawl’s side-slippery world, sex can be both commerce and worship, complete with ancient rites, altars, and ointments (“Women of the Doll”); a virtual reality high school is a proving ground for girlpacks and their unfortunate adversaries (“Walk like a Man”); and a British rock singer finds an image in a mirror that reflects both future hits and ancient horrors (“Something More”). Also included is a presentation at a southern university, in which they patiently (and gleefully) deconstructs the academic and arcane intersections between ancient rites and modern tech. Ifa, anyone?

Plus:
Our Outspoken Interview with Shawl, in which unapologetics are proffered, riddles are unraveled, and icons are, as always, clasted.

The original “Mad Professor” of cyberpunk, Rudy Rucker (along with fellow outlaws William Gibson and Bruce Sterling) transformed modern science fiction, tethering the “gnarly” speculations of quantum physics to the noir sensibilities of a skeptical and disenchanted generation. In acclaimed novels like Wetware and The Hacker and the Ant he mapped a neotopian future that belongs not to sober scientists but to drug-addled, sex-crazed youth. And won legions of fans doing it.

In his outrageous new story “The Men in the Back Room at the Country Club,” Dr. Rucker infiltrates fundamentalist Virginia to witness the apocalyptic clash between Bible-thumpers and Saucer Demons at a country club barbecue. He shoots erotica into orbit with “Rapture in Space” to explore the future of foreplay in freefall. In his gonzo nonfiction masterpiece “Surfing the Gnarl,” he documents the role of the Transreal in transforming both the personal and the political, distinguishes with mathematical precision between “high gnarl” and “low gnarl” in literature and life, and argues for remaking popular culture as a revolutionary project.

And Featuring: PM’s exclusive Outspoken Interview, in which the author explains Infinity, deconstructs his own outrageous film career, answers one Jeopardy question, and (finally!) reveals the truth about Time. All under oath.

You’ll never be the same. Is that good or bad? Your call.

Actions speak louder than words.

It’s said that the flutter of insect wings in the Indian Ocean can send a hurricane crashing against the shores of the American Northeast. It’s this premise that lies at the core of The System, a wordless graphic novel created and fully painted by award-winning illustrator Peter Kuper. From the subway system to the solar system, human lives are linked by an endless array of interconnecting threads. They tie each of us to our world and it to the universe. If every action has an equal and opposite reaction, get ready to run for cover!

A sleazy stockbroker is lining his pockets. A corrupt cop is shaking down drug dealers. A mercenary bomber is setting the timer. A serial killer is stalking strippers. A political scandal is about to explode. The planet is burning. And nobody’s talking.

Told without captions or dialogue, The System is an astonishing progression of vivid imagery, each brilliantly executed panel containing a wealth of information, with layer upon layer forming a vast and intricate tour of an ominous world of coincidences and consequences.

Blekingegade is a quiet Copenhagen street. It is also where, in May 1989, the police discovered an apartment that had served Denmark’s most notorious twentieth-century bank robbers as a hideaway for years. The Blekingegade Group members belonged to a communist organization and lived modest lives in the Danish capital. Over a period of almost two decades, they sent millions of dollars acquired in spectacular heists to Third World liberation movements, in particular the Popular Front for the Liberation of Palestine (PFLP). In May 1991, seven of them were convicted and went to prison.

The story of the Blekingegade Group is one of the most puzzling and captivating chapters from the European anti-imperialist milieu of the 1970s and ’80s. Turning Money into Rebellion: The Unlikely Story of Denmark’s Revolutionary Bank Robbers is the first-ever account of the story in English, covering a fascinating journey from anti-war demonstrations in the late 1960s via travels to Middle Eastern capitals and African refugee camps to the group’s fateful last robbery that earned them a record haul and left a police officer dead.

The book includes historical documents, illustrations, and an exclusive interview with Torkil Lauesen and Jan Weimann, two of the group’s longest-standing members. It is a compelling tale of turning radical theory into action and concerns analysis and strategy as much as morality and political practice. Perhaps most importantly, it revolves around the cardinal question of revolutionary politics: What to do, and how to do it?

The Struggle Within is an accessible yet wide-ranging historical primer about how mass imprisonment has been a tool of repression deployed against diverse left-wing social movements over the last fifty years. Berger examines some of the most dynamic social movements across half a century: black liberation, Puerto Rican independence, Native American sovereignty, Chicano radicalism, white antiracist and working-class mobilizations, pacifist and antinuclear campaigns, and earth liberation and animal rights.

Berger’s encyclopedic knowledge of American social movements provides a rich comparative history of numerous social movements that continue to shape contemporary politics. The book also offers a little-heard voice in contemporary critiques of mass incarceration. Rather than seeing the issue of America’s prison growth as stemming solely from the war on drugs, Berger locates mass incarceration within a slew of social movements that have provided steep challenges to state power.

Beginning with a harrowing, high-speed ride through the Upper South (a TVA baby is a good ol’ boy with a Yankee father and a 12-gauge) and ending in a desperate search through New Orleans graveyards for Darwin’s doomsday machine (“Charlie’s Angels”), Terry Bisson’s newest collection of short stories covers all the territory between—from his droll faux-FAQ’s done for Britain’s Science magazine, to the most seductive of his Playboy fantasies (“Private Eye”), to an eerie dreamlike evocation of the 9/11 that might have been (“A Perfect Day”). On the way we meet up with Somali Pirates, a perfect-crime appliance (via PayPal) and a visitor from Atlantis who just wants a burger with fries, please.

Readers who like cigarettes, lost continents, cars, lingerie, or the Future will be delighted. For those who don’t, there’s always Reality TV.

In this majestic tour de force, celebrated historian Peter Linebaugh takes aim at the thieves of land, the polluters of the seas, the ravagers of the forests, the despoilers of rivers, and the removers of mountaintops. Scarcely a society has existed on the face of the earth that has not had commoning at its heart. “Neither the state nor the market,” say the planetary commoners. These essays kindle the embers of memory to ignite our future commons.

From Thomas Paine to the Luddites, from Karl Marx—who concluded his great study of capitalism with the enclosure of commons—to the practical dreamer William Morris—who made communism into a verb and advocated communizing industry and agriculture—to the 20th-century communist historian E.P. Thompson, Linebaugh brings to life the vital commonist tradition. He traces the red thread from the great revolt of commoners in 1381 to the enclosures of Ireland, and the American commons, where European immigrants who had been expelled from their commons met the immense commons of the native peoples and the underground African-American urban commons. Illuminating these struggles in this indispensable collection, Linebaugh reignites the ancient cry, “STOP, THIEF!”

From civil rights and Black Power to the New Left and gay liberation, the 1960s and 1970s saw a host of movements shake the status quo. The impact of feminism, anticolonial struggles, wildcat industrial strikes, and antiwar agitation were all felt globally. With social strictures and political structures challenged at every level, pulp and popular fiction could hardly remain unaffected. Feminist, gay, lesbian, Black and other previously marginalised authors broke into crime, thrillers, erotica, and other paperback genres previously dominated by conservative, straight, white males. For their part, pulp hacks struck back with bizarre takes on the revolutionary times, creating fiction that echoed the Nixonian backlash and the coming conservatism of Thatcherism and Reaganism.

Sticking It to the Man tracks the ways in which the changing politics and culture of the 1950s, ’60s, and ’70s were reflected in pulp and popular fiction in the United States, the UK, and Australia. Featuring more than three hundred full-color covers, the book includes in-depth author interviews, illustrated biographies, articles, and reviews from more than two dozen popular culture critics and scholars. Among the works explored, celebrated, and analysed are books by street-level hustlers turned best-selling black writers Iceberg Slim, Nathan Heard, and Donald Goines; crime heavyweights Chester Himes, Ernest Tidyman and Brian Garfield; Yippies Anita Hoffman and Ed Sanders; best-selling authors such as Alice Walker, Patricia Nell Warren, and Rita Mae Brown; and myriad lesser-known novelists ripe for rediscovery.

Contributors include: Gary Phillips, Woody Haut, Emory Holmes II, Michael Bronski, David Whish-Wilson, Susie Thomas, Bill Osgerby, Kinohi Nishikawa, Jenny Pausacker, Linda S. Watts, Scott Adlerberg, Maitland McDonagh, Devin McKinney, Andrew Nette, Danae Bosler, Michael A. Gonzales, Iain McIntyre, Nicolas Tredell, Brian Coffey, Molly Grattan, Brian Greene, Eric Beaumont, Bill Mohr, J. Kingston Pierce, Steve Aldous, David James Foster, and Alley Hector.

Towards Collective Liberation: Anti-Racist Organizing, Feminist Praxis, and Movement Building Strategy is for activists engaging with dynamic questions of how to create and support effective movements for visionary systemic change. Chris Crass’s collection of essays and interviews presents us with powerful lessons for transformative organizing through offering a firsthand look at the challenges and the opportunities of anti-racist work in white communities, feminist work with men, and bringing women of color feminism into the heart of social movements. Drawing on two decades of personal activist experience and case studies of anti-racist social justice organizations, Crass insightfully explores ways of transforming divisions of race, class, and gender into catalysts for powerful vision, strategy, and movement building in the United States today.

Over the last two decades, activists in the United States have been experimenting with new politics and organizational approaches that stem from a fusion of radical political traditions and liberation struggles. Drawing inspiration from women of color feminism, justice struggles in communities of color, anarchist and socialist movements, the broad upsurges of the 1960s and 70s, and social movements in the Global South, a new generation of activists has sought to understand the past while building a movement for today’s world. Towards Collective Liberation contributes to this project by examining two primary dynamic trends in these efforts: the anarchist movement of the 1990s and 2000s, through which tens of thousands of activists were introduced to radical politics, direct action organizing, democratic decision making, and the profound challenges of taking on systems of oppression, privilege, and power in society at large and in the movement itself; and white anti-racist organizing efforts from the 2000s to the present as part of a larger strategy to build broad-based, effective multiracial movements in the United States.

Crass’s collection begins with an overview of the anarchist tradition as it relates to contemporary activism and an in-depth look at Food Not Bombs, one of the leading anarchist groups in the revitalized radical Left in the 1990s. The second and third sections of the book combine stories and lessons from Crass’s experiences of working as an anti-racist and feminist organizer, combining insights from the Civil Rights Movement, women of color feminism, and anarchism to address questions of leadership, organization building, and revolutionary strategy. In section four, Crass discusses how contemporary organizations have responded to the need for white activists to lead anti-racist efforts in white communities and how these efforts have contributed to multiracial alliances in building a broad-based movement for collective liberation. Offering rich case studies of successful organizing, and grounded, thoughtful key lessons for movement building, Toward Collective Liberation is a must-read for anyone working for a better world.

John Crowley's all-new essay “Totalitopia” is a wry how-to guide for building utopias out of the leftovers of modern science fiction. “This Is Our Town,” written especially for this volume, is a warm, witty, and wonderfully moving story about angels, cousins, and natural disasters based on a parochial school third-grade reader. One of Crowley’s hard-to-find masterpieces, “Gone” is a Kafkaesque science fiction adventure about an alien invasion that includes door-to-door leafleting and yard work. Perhaps the most entertaining of Crowley's “Easy Chair” columns in Harper's, “Everything That Rises” explores the fractal interface between Russian spiritualism and quantum singularities—with a nod to both Columbus and Flannery O'Connor. “And Go Like This” creeps in from Datlow's Year's Best, the Wild Turkey of horror anthologies.

Plus: There's a bibliography, an author bio, and of course our Outspoken Interview, the usual cage fight between candor and common sense.

Michelle Cruz Gonzales played drums and wrote lyrics in the influential 1990s female hardcore band Spitboy, and now she’s written a book—a punk rock herstory. Though not a riot grrl band, Spitboy blazed trails for women musicians in the San Francisco Bay Area and beyond, but it wasn’t easy. Misogyny, sexism, abusive fans, class and color blindness, and all-out racism were foes, especially for Gonzales, a Xicana and the only person of color in the band.

Unlike touring rock bands before them, the unapologetically feminist Spitboy preferred Scrabble games between shows rather than sex and drugs, and they were not the angry manhaters that many expected them to be. Serious about women’s issues and being the band that they themselves wanted to hear, a band that rocked as hard as men but sounded like women, Spitboy released several records and toured internationally. The memoir details these travels while chronicling Spitboy’s successes and failures, and for Gonzales, discovering her own identity along the way.

Fully illustrated with rare photos and flyers from the punk rock underground, this fast-paced, first-person recollection is populated by scenesters and musical allies from the time including Econochrist, Paxston Quiggly, Neurosis, Los Crudos, Aaron Cometbus, Pete the Roadie, Green Day, Fugazi, and Kamala and the Karnivores.

Speaking OUT: Queer Youth in Focus is a photographic essay that explores a wide spectrum of experiences told from the perspective of a diverse group of young people, ages fourteen to twenty-four, identifying as queer (i.e., lesbian, gay, bisexual, transgender, or questioning). Portraits are presented without judgment or stereotype by eliminating environmental influence with a stark white backdrop. This backdrop acts as a blank canvas, where each subject’s personal thoughts are handwritten onto the final photographic print. With more than sixty-five portraits photographed over a period of ten years, Speaking OUT provides rare insight into the passions, confusions, prejudices, joys, and sorrows felt by queer youth.

Speaking OUT gives a voice to an underserved group of people that are seldom heard and often silenced. The collaboration of image and first-person narrative serves to provide an outlet, show support, create dialogue, and help those who struggle. It not only shows unity within the LGBTQ community, but also commonalities regardless of age, race, gender, and sexual orientation.

With recent media attention and the success of initiatives such as the It Gets Better Project, resources for queer youth have grown. Still, a void exists which Speaking OUT directly addresses: this book is for youth, by youth.

Speaking OUT is an award-winning, nationally and internationally shown and published body of work. These images have been published in magazines such as the Advocate, School Library Journal, Curve, Girlfriends, and Out, and showcased by the Human Rights Campaign, National Public Radio, Public Television, and the U.S. Department of Education. The work continues to show in galleries, universities, youth centers, and churches around the world.

Jeremy Brecher’s Strike! narrates the dramatic story of repeated, massive, and sometimes violent revolts by ordinary working people in America. Involving nationwide general strikes, the seizure of vast industrial establishments, nonviolent direct action on a massive scale, and armed battles with artillery and tanks, this exciting hidden history is told from the point of view of the rank-and-file workers who lived it. Encompassing the repeated repression of workers’ rebellions by company-sponsored violence, local police, state militias, and the U.S. Army and National Guard, it reveals a dimension of American history rarely found in the usual high school or college history course.

Since its original publication in 1972, no book has done as much as Strike! to bring U.S. labor history to a wide audience. Now this fiftieth anniversary edition brings the story up to date with chapters covering the “mini-revolts of the twenty-first century,” including Occupy Wall Street and the Fight for Fifteen. The new edition contains over a hundred pages of new materials and concludes by examining a wide range of current struggles, ranging from #BlackLivesMatter, to the great wave of teachers’ strikes “for the soul of public education,” to the global “Student Strike for Climate” that may be harbingers of mass strikes to come.

This Is What Democracy Looks Like, a co-production of the IMC and Big Noise Films, weaves the footage of over 100 videographers into a gripping document of what really happened on Seattle’s streets. The film cuts through the confusion and tear gas to paint an intimate, passionate portrait of a week that changed the world. With narration by Susan Sarandon and Spearhead’s Michael Franti, and with a driving soundtrack including Rage Against the Machine, DJ Shadow, DJ Musaka, and Company of Prophets, This Is What Democracy Looks Like is the first documentary to capture the raw energy of the WTO protests, while clarifying their global and historic significance.

The Independent Media Center provided a production infrastructure for over 450 media activists during the WTO protests in November 1999. With autonomous, volunteer-run media centers operating in four continents, ten countries and twenty-one cities, the IMC represents a new and powerful emerging model for independent media.

Special features include complete interviews with Subcomandante Marcos and Noam Chomsky, additional video shorts, action guide and photo slideshow.

This Is Not a Photo Opportunity is a street-level, full-color showcase of some of Banksy’s most innovative pieces ever.

Banksy, Britain’s now-legendary “guerilla” street artist, has painted the walls, streets, and bridges of towns and cities throughout the world. Once viewed as vandalism, Banksy’s work is now venerated, collected, and preserved.

Over the course of a decade, Martin Bull has documented dozens of the most important and impressive works by the legendary political artist, most of which are no longer in existence. This Is Not a Photo Opportunity boasts nearly 200 color photos of Banksy’s public work on the walls, as seen from the streets.

Solidarity Unionism is critical reading for all who care about the future of labor. Drawing deeply on Staughton Lynd's experiences as a labor lawyer and activist in Youngstown, OH, and on his profound understanding of the history of the Congress of Industrial Organizations (CIO), Solidarity Unionism helps us begin to put not only movement but also vision back into the labor movement.

While many lament the decline of traditional unions, Lynd takes succor in the blossoming of rank-and-file worker organizations throughout the world that are countering rapacious capitalists and those comfortable labor leaders that think they know more about work and struggle than their own members. If we apply a new measure of workers’ power that is deeply rooted in gatherings of workers and communities, the bleak and static perspective about the sorry state of labor today becomes bright and dynamic.

To secure the gains of solidarity unions, Staughton has proposed parallel bodies of workers who share the principles of rank-and-file solidarity and can coordinate the activities of local workers’ assemblies. Detailed and inspiring examples include experiments in workers' self-organization across industries in steel-producing Youngstown, as well as horizontal networks of solidarity formed in a variety of U.S. cities and successful direct actions overseas.

This is a tradition that workers understand but labor leaders reject. After so many failures, it is time to frankly recognize that the century-old system of recognition of a single union as exclusive collective bargaining agent was fatally flawed from the beginning and doesn’t work for most workers. If we are to live with dignity, we must collectively resist. This book is not a prescription but reveals the lived experience of working people continuously taking risks for the common good.

Legendary legal scholar Staughton Lynd teams up with influential labor organizer Daniel Gross in this exposition on solidarity unionism, the do-it-yourself workplace organizing system that is rapidly gaining prominence around the country and around the world. Lynd and Gross make the audacious argument that workers themselves on the shop floor, not outside union officials, are the real hope for labor’s future. Utilizing the principles of solidarity unionism, any group of co-workers, like the workers at Starbucks, can start building an organization to win an independent voice at work without waiting for a traditional trade union to come and “organize” them. Indeed, in a leaked recording of a conference call, the nation’s most prominent union-busting lobbyist coined a term, “the Starbucks problem,” as a warning to business executives about the risk of working people organizing themselves and taking direct action to improve issues at work.

Combining history and theory with the groundbreaking practice of the model used by Starbucks workers, Lynd and Gross make a compelling case for solidarity unionism as an effective, resilient, and deeply democratic approach to winning a voice on the job and in society.

Teaching Resistance is a collection of the voices of activist educators from around the world who engage inside and outside the classroom from pre-kindergarten to university and emphasize teaching radical practice from the field. Written in accessible language, this book is for anyone who wants to explore new ways to subvert educational systems and institutions, collectively transform educational spaces, and empower students and other teachers to fight for genuine change. Topics include community self-defense, Black Lives Matter and critical race theory, intersections between punk/DIY subculture and teaching, ESL, anarchist education, Palestinian resistance, trauma, working-class education, prison teaching, the resurgence of (and resistance to) the Far Right, special education, antifascist pedagogies, and more.

Edited by social studies teacher, author, and punk musician John Mink, the book features expanded entries from the monthly column in the politically insurgent punk magazine Maximum Rocknroll, plus new works and extensive interviews with subversive educators. Contributing teachers include Michelle Cruz Gonzales, Dwayne Dixon, Martín Sorrondeguy, Alice Bag, Miriam Klein Stahl, Ron Scapp, Kadijah Means, Mimi Nguyen, Murad Tamini, Yvette Felarca, Jessica Mills, and others, all of whom are unified against oppression and readily use their classrooms to fight for human liberation, social justice, systemic change, and true equality.

Royalties will be donated to Teachers 4 Social Justice: t4sj.org

Stealing All Transmissions is a love story. It’s the story of how The Clash fell in love with America, and how America loved them back. The romance began in full in 1977, when select rock journalists and deejays aided the band’s quest to depose the rock of indolence that dominated American airwaves. This history situates The Clash amid the cultural skirmishes of the 1970s and culminates with their September 1979 performance at the Palladium in New York City. This concert was broadcast live on WNEW, and it concluded with Paul Simonon treating his Fender bass like a woodcutter’s ax.

This performance produced one of the most exhilarating Clash bootleg recordings, and the photo of Simonon’s outburst which graced the cover of the London Calling LP was recently deemed the greatest rock’n’roll photograph of all time. That night marked one of the last opportunities for American audiences to see The Clash as a punk band, teetering between conviction and uncertainty, before they became a seriously brilliant rock group.

Stealing represents a distinctive take on the history of punk, for no other book gives proper attention to the forces of free-form radio, long-form rock journalism, or Clash bootleg recordings, many of which are now widely available on the web. This story, which takes its title from the 1981 single “Radio Clash,” includes original interviews with key figures from the New York punk scene. This secret history concludes with an analysis of how we listen to music today and its impact on the written word.

In 2006, Oaxaca, Mexico, came alive with a broad and diverse movement that captivated the nation and earned the admiration of communities organizing for social justice around the world. The show of international solidarity for the people of Oaxaca was the most extensive since the Zapatista uprising in 1994. Fueled by long ignored social contradictions, what began as a teachers” strike demanding more resources for education quickly turned into a massive movement that demanded direct, participatory democracy.

Hundreds of thousands of Oaxacans raised their voices against the abuses of the state government. They participated in marches of up to 800,000 people, occupied government buildings, took over radio stations, called for statewide labor and hunger strikes, held sit-ins, reclaimed spaces for public art and created altars for assassinated activists in public spaces. In the now legendary March of Pots and Pans, two thousand women peacefully took over and operated the state television channel for three weeks. Barricades that were built all over the city to prevent the passage of paramilitaries and defend occupied public spaces, quickly became a place where neighbors got to know each other, shared ideas and developed new strategies for organizing.

Despite the fierce repression that the movement faced—with hundreds arbitrarily detained, tortured, forced into hiding, or murdered by the state and federal forces and paramilitary death squads—people were determined to make their voices heard.

“Once you learn to speak, you don”t want to be quiet anymore,” an indigenous community radio activist said. Accompanied by photography and political art, Teaching Rebellion is a compilation of testimonies from longtime organizers, teachers, students, housewives, religious leaders, union members, schoolchildren, indigenous community activists, artists, journalists, and many others who participated in what became the Popular Assembly of the Peoples of Oaxaca. This is a chance to listen directly to those invested in and affected by what quickly became one of the most important social uprisings of the 21st century.

Seventy-seven songs—with words and sheet music—of solidarity, revolt, humor, and revolution. Compiled from several generations in America, and from around the world, they were originally written in English, Danish, French, German, Italian, Spanish, Russian, and Yiddish.

From IWW anthems such as “The Preacher and the Slave” to Lenin’s favorite 1905 revolutionary anthem “Whirlwinds of Danger,” many works by the world’s greatest radical songwriters are anthologized herein: Edith Berkowitz, Bertolt Brecht, Ralph Chaplin, James Connolly, Havelock Ellis, Emily Fine, Arturo Giovannitti, Joe Hill, Langston Hughes, William Morris, James Oppenheim, Teresina Rowell, Anna Garlin Spencer, Maurice Sugar—and dozens more.

Old favorites and hidden gems, to once again energize and accompany picket lines, demonstrations, meetings, sit-ins, marches, and May Day parades.

Symbols of Resistance illuminates the untold stories of the Chican@ Movement with a focus on events in Colorado and New Mexico. The film engages student activists, the effect of police repression, and how issues of identity, land, and community still resonate in the Chican@ struggles of today. Through interviews with those who shaped the movement and rare historical footage, Symbols of Resistances offers a window into a dynamic moment in history and movement building.

Interviews include prominent Chicana leader Priscilla Falcón, activist lawyer Francisco “Kiko” Martínez, Mexican Liberation organizer Ricardo Romero, former director of El Pueblo History Museum Deborah Espinosa, and veteran reporter, photographer, and newspaper editor Juan Espinosa.

Closed captions and with Spanish subtitles.

When scientific socialism, which for many years was implemented by Abdullah Öcalan and the Kurdistan Workers’ Party (PKK), became too narrow for his purposes, Öcalan deftly answered the call for a radical redefinition of the social sciences. Writing from his solitary cell in İmralı Prison, Öcalan offered a new and astute analysis of what is happening to the Kurdish people, the Kurdish freedom movement, and future prospects for humanity.

The Sociology of Freedom is the fascinating third volume of a five-volume work titled The Manifesto of the Democratic Civilization. The general aim of the two earlier volumes was to clarify what power and capitalist modernity entailed. Here, Öcalan presents his stunningly original thesis of the democratic civilization, based on his criticism of capitalist modernity.

Ambitious in scope and encyclopedic in execution, The Sociology of Freedom is a one-of-a-kind exploration that reveals the remarkable range of one of the Left’s most original thinkers with topics such as existence and freedom, nature and philosophy, anarchism and ecology. Öcalan goes back to the origins of human culture to present a penetrating reinterpretation of the basic problems facing the twenty-first century and an examination of their solutions. Öcalan convincingly argues that industrialism, capitalism, and the nation-state cannot be conquered within the narrow confines of a socialist context.

Recognizing the need for more than just a critique, Öcalan has advanced what is the most radical, far-reaching definition of democracy today and argues that a democratic civilization, as an alternative system, already exists but systemic power and knowledge structures, along with a perverse sectarianism, do not allow it to be seen.

The Sociology of Freedom is a truly monumental work that gives profuse evidence of Öcalan’s position as one of the most influential thinkers of our day. It deserves the careful attention of anyone seriously interested in constructive thought or the future of the Left.

Jeremy Brecher’s Strike! narrates the dramatic story of repeated, massive, and sometimes violent revolts by ordinary working people in America. Involving nationwide general strikes, the seizure of vast industrial establishments, nonviolent direct action on a massive scale, and armed battles with artillery and tanks, this exciting hidden history is told from the point of view of the rank-and-file workers who lived it. Encompassing the repeated repression of workers’ rebellions by company-sponsored violence, local police, state militias, and the U.S. Army and National Guard, it reveals a dimension of American history rarely found in the usual high school or college history course.

Since its original publication in 1972, no book has done as much as Strike! to bring U.S. labor history to a wide audience. Now this fiftieth anniversary edition brings the story up to date with chapters covering the “mini-revolts of the twenty-first century,” including Occupy Wall Street and the Fight for Fifteen. The new edition contains over a hundred pages of new materials and concludes by examining a wide range of current struggles, ranging from #BlackLivesMatter, to the great wave of teachers’ strikes “for the soul of public education,” to the global “Student Strike for Climate” that may be harbingers of mass strikes to come.

Akbar Ahmed’s Suspended Somewhere Between is a collection of poetry from the man the BBC calls “the world’s leading authority on contemporary Islam.” A mosaic of Ahmed’s life, which has traversed cultural and religious barriers, this book of verse is personal with a vocal range from introspective and reflective to romantic and emotive to historical and political. The poems take the reader from the forbidding valleys and mountains of Waziristan in the tribal areas of Pakistan to the think tanks and halls of power in Washington, DC; from the rustic tranquility of Cambridge to the urban chaos of Karachi.

The collection spans half a century of writing and gives the reader a front row seat to the drama of a world in turmoil. Can there be more drama than Ahmed’s first memories as a boy of four on a train through the killing fields of North India during the partition of the subcontinent in 1947? Or the breakup of Pakistan into two counties amidst mass violence in 1971? Yet, in the midst of change and uncertainty, there is the optimism and faith of a man with confidence in his fellow man and in the future, despite the knowledge that perhaps the problems and challenges of the changing world would prove to be too great.

Ahmed’s poetry was a constant source of solace and renewal to which he escaped for inspiration and sanity. He loved poetry of every kind whether English, Urdu or Persian. Ahmed was as fascinated by Keats and Coleridge as he was by Rumi and Ghalib. For us, he serves as a guide to the inner recesses of the Muslim world showing us its very heart. Through the poems, the reader gets fresh insights into the Muslim world and its struggles. Above all, they carry the eternal message of hope and compassion.

In the accounts of the radical movements that have shaped our history, anarchism has received a raw deal. Its visions and aims have been distorted and misunderstood, its achievements forgotten. The British anarchist movement during the years 1880–1930, while borrowing from Europe, was self-actuated and independent, with a vibrant tale all its own.

In The Slow Burning Fuse, John Quail shows a history largely obscured and rewritten following 1919 and the triumph of Leninist communism. The time has arrived to resurrect the works of the early anarchist clubs, their unsung heroes, tumultuous political activities, and searing manifestos so that a truer image of radical dissent and history can be formed. Quail’s story of the anarchists is one of utopias created in imagination and half-realised in practice, of individual fights and movements for freedom and self-expression—a story still being written today.

Disguised as a book of innocent postcards, Slingshot is a dangerous collection of Eric Drooker’s most notorious posters. Plastered on brick walls from New York to Berlin, tattooed on bodies from Kansas to Mexico City, Drooker’s graphics continue to infiltrate and inflame the body politic. Drooker is the author of two graphic novels, Flood! A Novel in Pictures (winner of the American Book Award), and Blood Song: A Silent Ballad. He collaborated with Beat poet Allen Ginsberg on the underground classic Illuminated Poems. His provocative art has appeared on countless posters and book covers, and his hard-edged graphics are a familiar sight on street corners throughout the world. Eric Drooker is a third-generation New Yorker, born and raised on Manhattan Island. His paintings are frequently seen on covers of the New Yorker and hang in various art collections throughout the U.S. and Europe.

A serial killer stalks the streets of Spokane, acting out a misogynist script from the dark heart of this culture. Across town, a writer named Derrick has spent his life tracking the reasons--political, psychological, spiritual--for the sadism of modern civilization. And through the grim nights, Nika, a trafficked woman, tries to survive the grinding violence of prostitution. Their lives, and the forces propelling them, are about to collide.

Derrick’s current project is a book called Possession, which asks the ontological question of who is responsible for the culture of domination that’s destroying the earth. Who actually benefits from a dead planet, the endgame that’s fast approaching? What if the answer is something way bigger than humans? Meanwhile, with motivations opposite to Derrick’s, the serial killer is asking much the same question of the women he kidnaps as his final act of possession--and Nika is next.

Derrick’s metaphysical explorations suddenly take on more urgency as visions both terrifying and sacred begin to intrude, and past and future collapse without warning. All Derrick knows is Nika’s name and her impending death. The only person who believes him is his partner Allison, a woman with both strengths and scars, whose past has led her to a commitment to justice no matter what the cost. As the visions intensify and the killer draws nearer, Derrick and Allison are compelled to act, making themselves the next targets. Derrick must learn to negotiate a world of spirits and demons, living and dead, before it’s too late. And what hangs in the balance is not just their lives, but also the fate of life on earth.

With Songs of the Dead, Derrick Jensen has written more than a thriller. This is a story lush with rage and tenderness on its way to being a weapon.

Over sixty years ago, C.L.R. James and a small circle of collaborators making up the radical left Johnson-Forest Tendency reached the conclusion that there was no true socialist society existing anywhere in the world. Written in collaboration with Raya Dunayevskaya and Grace Lee Boggs, this is another pioneering critique of Lenin and Trotsky, and reclamation of Marx, from the West Indian scholar and activist, C.L.R. James. Originally published in 1950, this definitive edition includes the original preface from Martin Glaberman to the third edition, C.L.R. James’ original introductions to three previous editions and a new introduction from James’ biographer Paul Buhle.

Popular culture has woven itself into the social fabric of our lives, penetrating people’s homes and haunting their psyches through images and earworm hooks. Justice, at most levels, is something the average citizen may have little influence upon, leaving us feeling helpless and complacent. But pop music is a neglected arena where concrete change can occur—by exercising active and thoughtful choices to reject the low-hanging, omnipresent corporate fruit, we begin to rebalance the world, one engaged listener at a time.

Silenced by Sound: The Music Meritocracy Myth is a powerful exploration of the challenges facing art, music, and media in the digital era. With his fifth book, producer, activist, and author Ian Brennan delves deep into his personal story to address the inequity of distribution in the arts globally. Brennan challenges music industry tycoons by skillfully demonstrating that there are millions of talented people around the world far more gifted than the superstars for whom billions of dollars are spent to promote the delusion that they have been blessed with unique genius.

We are invited to accompany the author on his travels, finding and recording music from some of the world’s most marginalized peoples. In the breathtaking range of this book, our preconceived notions of art are challenged by musicians from South Sudan to Kosovo, as Brennan lucidly details his experiences recording music by the Tanzania Albinism Collective, the Zomba Prison Project, a “witch camp” in Ghana, the Vietnamese war veterans of Hanoi Masters, the Malawi Mouse Boys, the Canary Island whistlers, genocide survivors in both Cambodia and Rwanda, and more.

Silenced by Sound is defined by muscular, terse, and poetic verse, and a nonlinear format rife with how-to tips and anecdotes. The narrative is driven and made corporeal via the author’s ongoing field-recording chronicles, his memoir-like reveries, and the striking photographs that accompany these projects.

After reading it, you’ll never hear quite the same again.

Signal is an ongoing book series dedicated to documenting and sharing compelling graphics, art projects, and cultural movements of international resistance and liberation struggles. Artists and cultural workers have been at the center of upheavals and revolts the world over, from the painters and poets in the Paris Commune to the poster makers and street theatre performers of the recent Occupy movement. Signal will bring these artists and their work to a new audience, digging deep through our common history to unearth their images and stories. We have no doubt that Signal will come to serve as a unique and irreplaceable resource for activist artists and academic researchers, as well as an active forum for critique of the role of art in revolution.

In the US there is a tendency to focus only on the artworks produced within our shores or from English speaking producers. Signal reaches beyond those bounds, bringing material produced the world over, translated from dozens of languages and collected from both the present and decades past. Though it is a full-color printed publication, Signal is not limited to the graphic arts. Within its pages you will find political posters and fine arts, comics and murals, street art, site-specific works, zines, art collectives, documentation of performance and articles on the often overlooked but essential role all of these have played in struggles around the world.

Highlights of the seventh volume of Signal include:

• Philadelphia Printworks: Maryam Pugh discusses the legacy and future of Black political art with John Morrison
• The Vinyl Records of Victor Jara: The world-wide impact of the nueva canción bard documented by Josh MacPhee
• Spectacular Commodities: Mehdi el Hajoui explores the objects of the Situationist International
• The Left Independistas: A fifty year retrospective of the graphics of the Catalan independence movement by Jordi Padró
• Hope in the Midst of Apathy: Vera Williams and the cover art of Liberation magazine by Alec Dunn
• Dario and Maxi: Natalia Revale documents the transformation of a Buenos Aires metro station
• We Will Break Open the Doors That Obscure the Sun: Erik Buelinckx uncovers the graphic work of the anarchist Belgian Expressionist Albert Daenens
• Giving Voice to the Voiceless: Bill Berkowitz interviews California printer and poster maker Malaquías Montoya

Crass was the anarcho-punk face of a revolutionary movement founded by radical thinkers and artists Penny Rimbaud, Gee Vaucher, and Steve Ignorant. When punk ruled the waves, Crass waived the rules and took it further, putting out their own records, films, and magazines and setting up a series of situationist pranks that were dutifully covered by the world’s press. Not just another iconoclastic band, Crass was a musical, social, and political phenomenon.

Commune dwellers who were rarely photographed and remained contemptuous of conventional pop stardom; their members explored and finally exhausted the possibilities of punk-led anarchy. They have at last collaborated on telling the whole Crass story, giving access to many never-before-seen photos and interviews.

Kuwasi Balagoon was a participant in the Black Liberation struggle from the 1960s until his death in prison in 1986. A member of the Black Panther Party and defendant in the infamous Panther 21 case, Balagoon went underground with the Black Liberation Army (BLA). Captured and convicted of various crimes against the State, he spent much of the 1970s in prison, escaping twice. After each escape, he went underground and resumed BLA activity.

Balagoon was unusual for his time in several ways. He combined anarchism with Black nationalism, he broke the rules of sexual and political conformity that surrounded him, he took up arms against the white-supremacist state—all the while never shying away from developing his own criticisms of the weaknesses within the movements. His eloquent trial statements and political writings, as much as his poetry and excerpts from his prison letters, are all testimony to a sharp and iconoclastic revolutionary who was willing to make hard choices and fully accept the consequences.

Balagoon was captured for the last time in December 1981, charged with participating in an armored truck expropriation in West Nyack, New York, an action in which two police officers and a money courier were killed. Convicted and sentenced to life imprisonment, he died of an AIDS-related illness on December 13, 1986.

The first part of this book consists of contributions by those who knew or were touched by Balagoon. The second section consists of court statements and essays by Balagoon himself, including several documents that were absent from previous editions and have never been published before. The third consists of excerpts from letters Balagoon wrote from prison. A final fourth section consists of a historical essay by Akinyele Umoja and an extensive intergenerational roundtable discussion of the significance of Balagoon’s life and thoughts today.

Signal is an ongoing book series dedicated to documenting and sharing compelling graphics, art projects, and cultural movements of international resistance and liberation struggles. Artists and cultural workers have been at the center of upheavals and revolts the world over, from the painters and poets in the Paris Commune to the poster makers and street theatre performers of the recent Occupy movement. Signal will bring these artists and their work to a new audience, digging deep through our common history to unearth their images and stories. We have no doubt that Signal will come to serve as a unique and irreplaceable resource for activist artists and academic researchers, as well as an active forum for critique of the role of art in revolution.

Highlights of the second volume ofSignal include:

• Anarchist Manga in Japan
• Breaking Chains: Political Graphics and the Anti-Apartheid Struggle
• Selling Freedom: Promotional Posters from the 1910s
• Street Art, Oaxacan Struggle, and the Mexican Context
• Covering the Wall: Revolutionary Murals in 1970s Portugal
• Røde Mor: Danish printmaking, pop music, and politics

Signal is an ongoing book series dedicated to documenting and sharing compelling graphics, art projects, and cultural movements of international resistance and liberation struggles. Artists and cultural workers have been at the center of upheavals and revolts the world over, from the painters and poets in the Paris Commune to the poster makers and street theatre performers of the recent Occupy movement. Signal will bring these artists and their work to a new audience, digging deep through our common history to unearth their images and stories. We have no doubt that Signal will come to serve as a unique and irreplaceable resource for activist artists and academic researchers, as well as an active forum for critique of the role of art in revolution.

Highlights of the third volume ofSignal include:

• Sonic Internationalism: An Interview with Paredon Records Founder Barbara Dane
• Game of Destruction: Deltor Stencils the Enemies of Socialism by Stephen Goddard
• Organized Artists/Reproductive Resistance: Reflecting on the Medu Arts Ensemble
• Quebec Spring: Striking Culture by David Widgington
• Memories of Revolution: Yugoslav Partisan Memorials by Robert Burghardt and Gal Kirn

Black Flag were the pioneers of American Hardcore, and this is their blood-spattered story.

Formed in Hermosa Beach, California, in 1978, for eight brutal years they made and played brilliant, ugly, no-holds-barred music on a self-appointed touring circuit of America’s clubs, squats, and community halls. They fought with everybody: the police, the record industry and even their own fans. They toured overseas on pennies a day and did it in beat-up trucks and vans.

Spray Paint the Walls tells Black Flag’s story from the inside, drawing on exclusive interviews with the group’s members, their contemporaries, and the bands they inspired. It’s the story of Henry Rollins, and his journey from fan to iconic frontman. And it’s the story of Greg Ginn, who turned his electronics company into one of the world’s most influential independent record labels while leading Black Flag from punk’s three-chord frenzy into heavy metal and free-jazz. Featuring over 30 photos of the band from Glen E. Friedman, Edward Colver, and others.

Soccer has turned into a multi-billion-dollar industry. Professionalism and commercialization dominate its global image. Yet the game retains a rebellious side, maybe more so than any other sport co-opted by moneymakers and corrupt politicians. From its roots in working-class England to political protests by players and fans, and a current radical soccer underground, the notion of football as the “people’s game” has been kept alive by numerous individuals, teams, and communities.

This book not only traces this history but also reflects on common criticisms—that soccer ferments nationalism, serves right-wing powers, and fosters competitiveness—exploring alternative perspectives and practical examples of egalitarian DIY soccer. Soccer vs. the State serves both as an orientation for the politically conscious football supporter and as an inspiration for those who try to pursue the love of the game away from televisions and big stadiums, bringing it to back alleys and muddy pastures.

This second edition has been expanded to cover events of recent years, including the involvement of soccer fans in the Middle Eastern uprisings of 2011–2013, the FIFA scandal of 2015, and the 2017 strike by the Danish women’s team.

Decades ago, Malcolm X eloquently stated that communities have the legitimate right to defend themselves “by any means necessary” with any tool or tactic, including guns. This wide-ranging anthology uncovers the hidden histories and ideas of community armed self-defense, exploring how it has been used by marginalized and oppressed communities as well as anarchists and radicals within significant social movements of the twentieth and twenty-first centuries.

Far from a call to arms, or a “how-to” manual for warfare, this volume offers histories, reflections, and questions about the role of firearms in small collective defense efforts and its place in larger efforts toward the creation of autonomy and liberation.

Featuring diverse perspectives from movements across the globe, Setting Sights includes vivid histories and personal reflections from both researchers and those who participated in community armed self-defense. Contributors include Dennis Banks, Kathleen Cleaver, Mabel Williams, Subcomandante Marcos, Kristian Williams, George Ciccariello-Maher, Ashanti Alston, and many more.

Sisters of the Revolution gathers a highly curated selection of feminist speculative fiction (science fiction, fantasy, horror, and more) chosen by one of the most respected editorial teams in speculative literature today, the award-winning Ann and Jeff VanderMeer. Including stories from the 1970s to the present day, the collection seeks to expand the conversation about feminism while engaging the reader in a wealth of imaginative ideas.

From the literary heft of Angela Carter to the searing power of Octavia Butler, Sisters of the Revolution gathers daring examples of speculative fiction’s engagement with feminism. Dark, satirical stories such as Eileen Gunn’s “Stable Strategies for Middle Management” and the disturbing horror of James Tiptree Jr.’s “The Screwfly Solution” reveal the charged intensity at work in the field. Including new, emerging voices like Nnedi Okorafor and featuring international contributions from Angelica Gorodischer and many more, Sisters of the Revolution seeks to expand the ideas of both contemporary fiction and feminism to new fronts. Moving from the fantastic to the futuristic, the subtle to the surreal, these stories will provoke thoughts and emotions about feminism like no other book available today.

Contributors include: Angela Carter, Angelica Gorodischer, Anne Richter, Carol Emshwiller, Catherynne M. Valente, Eileen Gunn, Eleanor Arnason, Elizabeth Vonarburg, Hiromi Goto, James Tiptree Jr., Joanna Russ, Karin Tidbeck, Kelley Eskridge, Kelly Barnhill, Kit Reed, L. Timmel Duchamp, Leena Krohn, Leonora Carrington, Nalo Hopkinson, Nnedi Okorafor, Octavia Butler, Pamela Sargent, Pat Murphy, Rachel Swirsky, Rose Lemberg, Susan Palwick, Tanith Lee, Ursula K. Le Guin, and Vandana Singh.

Even the best cops burn out. 23 Shades of Black’s Filomena Buscarsela returns, having traded in her uniform for the trials of single motherhood. Once a cop, always a cop. She may have left the department, but Filomena’s passion for justice burns as hot as ever. And when the owner of her neighborhood bodega is murdered—just another “ethnic” crime that will probably go unsolved and unavenged—Filomena doesn’t need much prodding from the dead man’s grieving sister to step in. Secretly partnered with a rookie cop, she hits the Washington Heights streets to smoke out the trigger-happy punks who ended an innocent life as callously as if they were blowing out a match.

From the labyrinthine subway tunnels of upper Broadway to the upscale enclaves that house the rich and beautiful, from local barrio hangouts to high-priced seats of power, Filomena follows a trail of dirty secrets and dirtier politics, with some unexpected stops in between. In a town big enough to hold every kind of criminal, crackpot, liar, and thief, from ruthless gangsters to corporate executives drunk on greed and power, she tracks a killer through the city’s danger zones.

Settlers is a uniquely important book in the canon of the North American revolutionary left and anticolonial movements. First published in the 1980s by activists with decades of experience organizing in grassroots anticapitalist struggles against white supremacy, the book soon established itself as an essential reference point for revolutionary nationalists and dissident currents within the predominantly colonialist Marxist-Leninist and anarchist movements at that time.

Always controversial within the establishment Left Settlers uncovers centuries of collaboration between capitalism and white workers and their organizations, as well as their neocolonial allies, showing how the United States was designed from the ground up as a parasitic and genocidal entity. Settlers exposes the fact that America’s white citizenry have never supported themselves but have always resorted to exploitation and theft, culminating in acts of genocide to maintain their culture and way of life. As recounted in painful detail by Sakai, the United States has been built on the theft of Indigenous lands and of Afrikan labor, on the robbery of the northern third of Mexico, the colonization of Puerto Rico, and the expropriation of the Asian working class, with each of these crimes being accompanied by violence.

This new edition includes “Cash & Genocide: The True Story of Japanese-American Reparations” and an interview with author J. Sakai by Ernesto Aguilar.

We have the power to change fairy tales and nursery rhymes so that these stories are more realistic. In Sometimes the Spoon Runs Away With Another Spoon you will find anecdotes of real kids’ lives and true-to-life fairy tale characters. This book pushes us beyond rigid gender expectations while we color fantastic beasts who like pretty jewelry and princesses who build rocket ships.

Celebrate sensitive boys, tough girls, and others who do not fit into a disempowering gender categorization.

Sometimes the Spoon...aids the work of dismantling the Princess Industrial Complex by moving us forward with more honest representations of our children and ourselves. Color to your heart’s content. Laugh along with the characters. Write your own fairy tales. Share your own truths.

Widely respected in the so-called “mainstream” for her New York Times bestselling novels, Karen Joy Fowler is also a formidable, often controversial, and always exuberant presence in Science Fiction. Here she debuts a provocative new story written especially for this series. Set in the days of Darwin, “The Science of Herself” is a marvelous hybrid of SF and historical fiction: the almost-true story of England’s first female paleontologist who took on the Victorian old-boy establishment armed with only her own fierce intelligence—and an arsenal of dino bones.

Plus…
“The Pelican Bar,” a homely tale of family ties that makes Guantánamo look like summer camp; “The Further Adventures of the Invisible Man,” a droll tale of sports, shoplifting and teen sex; and “The Motherhood Statement,” a quietly angry upending of easy assumptions that shows off Fowler’s deep radicalism and impatience with conservative homilies and liberal pieties alike.

And Featuring: our Outspoken Interview in which Fowler prophesies California’s fate, reveals the role of bad movies in good marriages, and intimates that girls just want to have fun (which means make trouble).

Straight edge has persisted as a drug-free, hardcore punk subculture for 25 years. Its political legacy, however, remains ambiguous—often associated with self-righteous macho posturing and conservative puritanism. While certain elements of straight edge culture feed into such perceptions, the movement’s political history is far more complex.

Since straight edge’s origins in Washington, DC, in the early 1980s, it has been linked to radical thought and action by countless individuals, bands, and entire scenes worldwide. Sober Living for the Revolution traces this history.

It includes contributions—in the form of in-depth interviews, essays, and manifestos—by numerous artists and activists connected to straight edge, from Ian MacKaye (Minor Threat/Fugazi) and Mark Andersen (Dance of Days/Positive Force DC) to Dennis Lyxzén (Refused/The (International) Noise Conspiracy) and Andy Hurley (Racetraitor/Fall Out Boy), from bands such as ManLiftingBanner and Point of No Return to feminist and queer initiatives, from radical collectives like CrimethInc. and Alpine Anarchist Productions to the Emancypunx project and many others dedicated as much to sober living as to the fight for a better world.

When scientific socialism, which for many years was implemented by Abdullah Öcalan and the Kurdistan Workers’ Party (PKK), became too narrow for his purposes, Öcalan deftly answered the call for a radical redefinition of the social sciences. Writing from his solitary cell in İmralı Prison, Öcalan offered a new and astute analysis of what is happening to the Kurdish people, the Kurdish freedom movement, and future prospects for humanity.

The Sociology of Freedom is the fascinating third volume of a five-volume work titled The Manifesto of the Democratic Civilization. The general aim of the two earlier volumes was to clarify what power and capitalist modernity entailed. Here, Öcalan presents his stunningly original thesis of the democratic civilization, based on his criticism of capitalist modernity.

Ambitious in scope and encyclopedic in execution, The Sociology of Freedom is a one-of-a-kind exploration that reveals the remarkable range of one of the Left’s most original thinkers with topics such as existence and freedom, nature and philosophy, anarchism and ecology. Öcalan goes back to the origins of human culture to present a penetrating reinterpretation of the basic problems facing the twenty-first century and an examination of their solutions. Öcalan convincingly argues that industrialism, capitalism, and the nation-state cannot be conquered within the narrow confines of a socialist context.

Recognizing the need for more than just a critique, Öcalan has advanced what is the most radical, far-reaching definition of democracy today and argues that a democratic civilization, as an alternative system, already exists but systemic power and knowledge structures, along with a perverse sectarianism, do not allow it to be seen.

The Sociology of Freedom is a truly monumental work that gives profuse evidence of Öcalan’s position as one of the most influential thinkers of our day. It deserves the careful attention of anyone seriously interested in constructive thought or the future of the Left.

The Sea is Rising and So Are We: A Climate Justice Handbook is an invitation to get involved in the movement to build a just and sustainable world in the face of the most urgent challenge our species has ever faced. By explaining the entrenched forces that are preventing rapid action, it helps you understand the nature of the political reality we are facing and arms you with the tools you need to overcome them. The book offers background information on the roots of the crisis and the many rapidly expanding solutions that are being implemented all around the world. It explains how to engage in productive messaging that will pull others into the climate justice movement, what you need to know to help build a successful movement, and the policy changes needed to build a world with climate justice. It also explores the personal side, how engaging in the movement can be good for your mental health. It ends with advice on how you can find the place where you can be the most effective and where you can build climate action into your life in ways that are deeply rewarding.

Signal is an ongoing book series dedicated to documenting and sharing compelling graphics, art projects, and cultural movements of international resistance and liberation struggles. Artists and cultural workers have been at the center of upheavals and revolts the world over, from the painters and poets in the Paris Commune to the poster makers and street theatre performers of the recent Occupy movement. Signal will bring these artists and their work to a new audience, digging deep through our common history to unearth their images and stories. We have no doubt that Signal will come to serve as a unique and irreplaceable resource for activist artists and academic researchers, as well as an active forum for critique of the role of art in revolution.

Highlights of the sixth volume ofSignal include:

• Basement Workshop: The Genesis of New York’s Asian American Resistance Culture
• Jamaa Al-Yad: An Interview with Daniel Drennan ElAwar
• La Escuela de Cultura Popular Revolucionaria Mártires del 68: Thirty Years of Collective Agitation in Mexico City
• The Appalachian Movement Press
• Adhesing Uprisings, and much more.

The Rise of Disaster Capitalism features Naomi Klein explaining the ideas and research behind her bestselling book, The Shock Doctrine: The Rise of Disaster Capitalism. In this riveting lecture and interview, Klein challenges and exposes the popular myth of the free market economy’s peaceful global victory

Around the world there are people with power who are cashing in on chaos, exploiting bloodshed and catastrophe to brutally implement their policies. They are the shock doctors. From Chile in 1973 to Iraq today, this is the chilling tale of how a few are making a killing while more are getting killed.

The author’s portion of the proceeds from the sale of the DVD are going to the UK non-profit organization War on Want.

“The Miata jumped the curb and sheared off a light pole. The impact deployed the airbags, but Chainbang was ready. He knifed Klinger’s before it was fully inflated and his own before it could crush the glass pipe in his breast pocket. The six-inch blade went through the nylon like a pit bull through a kindergarten.”

Snitch World takes place in a San Francisco of menacing technology, where the old cons come up short and the crimes of the gritty night have morphed into slick capers pulled off by the glow of a smartphone.

Klinger hangs out at the Hawse Hole, a sordid dive even by Tenderloin standards. All he really wants is enough cash to buy a cup of coffee, some cigarettes, a bug-free hotel room. The simple act of picking a carefully targeted mark’s pocket initiates a series of events that get stranger and more dangerous by the moment. Jim Nisbet, with his characteristic humor and brilliant prose, creates a world where trust, and even cash, are the avatars of a loser’s game.

This is Snitch World, where a nine-dollar app can be as deadly as a dirty needle.

Also included is a recent interview with Jim Nisbet, in conversation with Patrick Marks, owner and publisher of San Francisco’s The Green Arcade, talking about writing, books, and technology.

Perched on a dry desert mesa, San Judas is a home of last resort for landless peasants who build makeshift homes and a vibrant community on “worthless” land that no one else wants. Or so it seems. Until suddenly, and tragically, everyone wants it for their own. The Road Through San Judas chronicles from the inside the colorful characters struggling to save their village from NAFTA regulations, local Juárez developers, terrifying drug cartels, violent cholo gangs, and corrupt politicians on both sides of the border.

All those interested in the culture and contradictions of modern Mexico—including activists involved in struggles for land, democracy, and justice under international capitalism—will delight in this novel’s revolutionary humor and compassion.

Succinct and to the point, David Rovics demystifies the very different skills necessary to cultivate the arts of songwriting, guitar-playing and tour booking. In an era when the truly independent record label is virtually a thing of the past, Rovics explains how it’s possible to make a living as a recording artist without a label. At a time when the corporate record industry is suing music fans for sharing music, Rovics explains why the internet is good for independent artists, and how to utilize its potential. For those hoping to get a major record deal and become rich and famous, look elsewhere. But if you’re looking to make a living as an independent artist, this pamphlet is a must-read.

Signal is an ongoing book series dedicated to documenting and sharing compelling graphics, art projects, and cultural movements of international resistance and liberation struggles. Artists and cultural workers have been at the center of upheavals and revolts the world over, from the painters and poets in the Paris Commune to the poster makers and street theatre performers of the recent Occupy movement. Signal will bring these artists and their work to a new audience, digging deep through our common history to unearth their images and stories. We have no doubt that Signal will come to serve as a unique and irreplaceable resource for activist artists and academic researchers, as well as an active forum for critique of the role of art in revolution.

Highlights of the first volume ofSignal include:

• The Future of Xicana Printmaking: Alec Dunn and Josh MacPhee interview the Taller Tupac Amaru (Favianna Rodriguez, Melanie Cervantes, and Jesus Barraza)
• The Adventures of Red Rat: Alec Dunn interviews Johannes van de Weert
• Hard Travelin’: A photo essay with IMPEACH
• Early 20th-Century Anarchist Imprints
• Mexico 68: The Graphic Production of a Movement: Santiago Armengod interviews Felipe Hernandez Moreno
• Adventure Playgrounds: A photo essay
• Designing Anarchy: Dan Poyner interviews Rufus Segar

Written between 1974 and 2016, Revolution at Point Zero collects four decades of research and theorizing on the nature of housework, social reproduction, and women’s struggles on this terrain—to escape it, to better its conditions, to reconstruct it in ways that provide an alternative to capitalist relations.

Indeed, as Federici reveals, behind the capitalist organization of work and the contradictions inherent in “alienated labor” is an explosive ground zero for revolutionary practice upon which are decided the daily realities of our collective reproduction.

Beginning with Federici’s organizational work in the Wages for Housework movement, the essays collected here unravel the power and politics of wide but related issues including the international restructuring of reproductive work and its effects on the sexual division of labor, the globalization of care work and sex work, the crisis of elder care, the development of affective labor, and the politics of the commons.

This revised and expanded edition includes three additional essays and a new preface by the author.

Simultaneous Revolutions offers a meeting place for individual expression in this plague year where, forced to look within and stay afar, people can do both with these companion poems. With poems about Bob Dylan, contemporary singer Grimes, the Clash, Dolores O’Riordan of the Cranberries, Allen Ginsberg, and also featuring voices from warehouse rave to the ignored alley, from the blurry highway to a couple’s river-walk to a calm man’s tilling, these poems offer a provocative panorama of our both ancient and neon times.

Headed down the wounded highway
like a nurse on the same road,
don’t know what the banners say today,
but sense the ill from the good.
—from “Soulphone Ringing”

Who hasn’t traveled the revolutions of living? What would that map look like, as varied people chart their own ways to harbor? Find out by checking out Simultaneous Revolutions. From the Lower East Side to the Lehigh River Gorge, from Standing Rock to Chesapeake Bay, from St. Louis to Vermont to San Francisco, Simultaneous Revolutions stands exactly at the broad confluence of a hundred nourishing, wild, wounded rivers—coming together—flowing to a gathering of power, becoming one.

Signal is an ongoing book series dedicated to documenting and sharing compelling graphics, art projects, and cultural movements of international resistance and liberation struggles. Artists and cultural workers have been at the center of upheavals and revolts the world over, from the painters and poets in the Paris Commune to the poster makers and street theatre performers of the recent Occupy movement. Signal will bring these artists and their work to a new audience, digging deep through our common history to unearth their images and stories. We have no doubt that Signal will come to serve as a unique and irreplaceable resource for activist artists and academic researchers, as well as an active forum for critique of the role of art in revolution.

Highlights of the fifth volume ofSignal include:

• The Club de Grabado de Montevideo: Georgia Phillips-Amos unearths printmaking under dictatorship
• Three Print Collectives: Alec Dunn interviews Friends of Ibn Firnas, A3BC, and the Pangrok Sulap collective
• Survival by Sharing—Printing over Profit: Josh MacPhee interviews Paul Werner about the history of New York City’s Come!Unity Press
• The Pyramid's Reign: Analyzing an enduring symbol of capitalism with Eric Triantafillou
• Empty Forms—Occupied Homes: Marc Herbst looks at the intersection between movement design and the struggle for housing in Barcelona
• Discs of the Gun: A trip through music and militancy in postwar Italy by Josh MacPhee

Love. Politics. Parasitic manipulation. Julia Hernandez left her husband, shot a real-estate developer out to gentrify Brooklyn, and then vanished without a trace. Well, perhaps one or two traces were left… With different personal and consumption habits, Julia has slipped out of the world she knew and into the Simulacrum—a place between the cracks of our existence from which human history is both guided and thwarted by the conflict between a species of anarchist wasp and a collective of hyperintelligent spiders. When Julia’s ex-husband Raymond spots her in a grocery store he doesn’t usually patronize, he’s drawn into an underworld of radical political gestures and Internet organizing looking to overthrow a ruling class it knows nothing about—and Julia is the new media sensation of both this world and the Simulacrum.

Told ultimately from the collective point of view of another species, Sensation plays with the elements of the Simulacrum we all already live in: media reports, businessspeak, blog entries, text messages, psychological evaluation forms, and the always fraught and kindly lies lovers tell one another.

Nalo Hopkinson has been busily (and wonderfully) “subverting the genre” since her first novel, Brown Girl in the Ring, won a Locus Award for SF and Fantasy in 1999. Since then she has acquired a prestigious World Fantasy Award, a legion of adventurous and aware fans, a reputation for intellect seasoned with humor, and a place of honor in the short list of SF writers who are tearing down the walls of category and transporting readers to previously unimagined planets and realms.

Never one to hold her tongue, Hopkinson takes on sexism and racism in publishing in “Report from Planet Midnight,” a historic and controversial presentation to her colleagues and fans.

Plus...
“Message in a Bottle,” a radical new twist on the time travel tale that demolishes the sentimental myth of childhood innocence; and “Shift,” a tempestuous erotic adventure in which Caliban gets the girl. Or does he?

And Featuring: Our Outspoken Interview, an intimate one-on-one that delivers a wealth of insight, outrage, irreverence, and top-secret Caribbean spells.

Margrit Schiller was an early member of the Red Army Faction, the West German urban guerrilla group. In 1971 she was captured and charged with a murder she did not commit, and upon her release she returned to the underground, being captured again in early 1974. She would spend most of the 1970s in prison, enduring isolation conditions meant to break the human spirit, and participating hunger strikes and other acts of resistance along with other political prisoners from the RAF.

In Remembering the Armed Struggle, Schiller recounts the process through which she joined her generation’s revolt in the 1960s, going from work with drug users to joining the antipsychiatry political organization the Socialist Patients’ Collective and then the RAF. She tells of how she met and worked alongside the group’s founding members, Ulrike Meinhof, Andreas Baader, Jan-Carl Raspe, Irmgard Möller, and Holger Meins; how she learned the details of the May Offensive and other actions while in her prison cell; about the struggles to defend human dignity in the most degraded of environments, and the relationships she forged with other women in prison.

Also included are a foreword by Ann Hansen, who situates the draconian prison conditions inflicted on the RAF within the context of a global counterinsurgency program that would help spawn the plague of mass incarceration we still face today, an afterword by the late Osvaldo Bayer, and an appendix by J. Smith and André Moncourt summarizing the politics and history of the RAF in the 1970s.

Signal is an ongoing book series dedicated to documenting and sharing compelling graphics, art projects, and cultural movements of international resistance and liberation struggles. Artists and cultural workers have been at the center of upheavals and revolts the world over, from the painters and poets in the Paris Commune to the poster makers and street theatre performers of the recent Occupy movement. Signal will bring these artists and their work to a new audience, digging deep through our common history to unearth their images and stories. We have no doubt that Signal will come to serve as a unique and irreplaceable resource for activist artists and academic researchers, as well as an active forum for critique of the role of art in revolution.

Highlights of the fourth volume ofSignal include:

• Imaging Palestine: Rochelle Davis and Emma Murphy take a look at Palestinian Affairs, one of the PLO’s major publications
• Fighting Fire with Water: Lincoln Cushing discusses the Bay Area Peace Navy’s large-scale visual interventions
• The Walls Speak Even If the Media Is Silent: Tennessee Watson documents a project made in response to the violence in Juárez
• Revolutionary Continuum: Jared Davidson cracks open New Zealand’s Kotare Trust Poster Archive
• Kommune 1: Michael McCanne teases out the early years of West Germany’s militant counterculture
• Illustrating the 3rd World: Josh MacPhee interviews Max Karl Winkler, book cover designer for Three Continents Press
• Dynamic Collectivity: Ryan Hayes traces the history of Toronto’s Punchclock Printing Collective

We the people of the world are creating the conditions for our own self-extermination, whether through the bang of a nuclear holocaust or the whimper of an expiring ecosphere. Today our individual self-preservation depends on common preservation—cooperation to provide for our mutual survival and well-being.

For half a century Jeremy Brecher has been studying and participating in social movements that have created new forms of common preservation. Through entertaining storytelling and personal narrative, Save the Humans? provides a unique and revealing interpretation of how social movements arise and how they change the world. Brecher traces a path that leads from the sitdown strikes on the pyramids of ancient Egypt through America’s mass strikes and labor revolts to the struggle against economic globalization to today’s battles against climate change.

Weaving together personal experience, scholarly research, and historical interpretation, Jeremy Brecher shows how we can construct a “human survival movement” that could “save the humans.” He sums up the theme of this book: “I have seen common preservation—and it works.” For those seeking an understanding of social movements and an alternative to denial and despair, there is simply no better place to look than Save the Humans?

The first in a two-volume series, this is by far the most in-depth political history of the Red Army Faction ever made available in English.

Projectiles for the People starts its story in the days following World War II, showing how American imperialism worked hand in glove with the old pro-Nazi ruling class, shaping West Germany into an authoritarian anti-communist bulwark and launching pad for its aggression against Third World nations. The volume also recounts the opposition that emerged from intellectuals, communists, independent leftists, and then—explosively—the radical student movement and countercultural revolt of the 1960s.

It was from this revolt that the Red Army Faction emerged, an underground organization devoted to carrying out armed attacks within the Federal Republic of Germany, in the view of establishing a tradition of illegal, guerilla resistance to imperialism and state repression. Through its bombs and manifestos the RAF confronted the state with opposition at a level many activists today might find difficult to imagine.

For the first time ever in English, this volume presents all of the manifestos and communiqués issued by the RAF between 1970 and 1977, from Andreas Baader’s prison break, through the 1972 May Offensive and the 1975 hostage-taking in Stockholm, to the desperate, and tragic, events of the “German Autumn” of 1977. The RAF’s three main manifestos—The Urban Guerilla Concept, Serve the People, and Black September—are included, as are important interviews with Spiegel and le Monde Diplomatique, and a number of communiqués and court statements explaining their actions.

Providing the background information that readers will require to understand the context in which these events occurred, separate thematic sections deal with the 1976 murder of Ulrike Meinhof in prison, the 1977 Stammheim murders, the extensive use of psychological operations and false-flag attacks to discredit the guerilla, the state’s use of sensory deprivation torture and isolation wings, and the prisoners’ resistance to this, through which they inspired their own supporters and others on the left to take the plunge into revolutionary action.

Drawing on both mainstream and movement sources, this book is intended as a contribution to the comrades of today—and to the comrades of tomorrow—both as testimony to those who struggled before and as an explanation as to how they saw the world, why they made the choices they made, and the price they were made to pay for having done so.

Following the U.S. Congress’s attempts to defund Planned Parenthood, the hashtag #ShoutYourAbortion became a viral conduit for abortion storytelling, receiving extensive media coverage and positioning real human experiences at the center of America’s abortion debate for the very first time. The online momentum sparked a grassroots movement that has subsequently inspired countless individuals to share their abortion stories in art, media, and community events all over the country, and to begin building platforms for others to do the same.

Shout Your Abortion is a collection of photos, essays, and creative work inspired by the movement of the same name, a template for building new communities of healing, and a call to action. Since SYA’s inception, people all over the country have shared stories and begun organizing in a range of ways: making art, hosting comedy shows, creating abortion-positive clothing, altering billboards, starting conversations that had never happened before. This book documents some of these projects and illuminates the individuals who have breathed life into this movement, illustrating the profound liberatory and political power of defying shame and claiming sole authorship of our experiences. With Roe vs. Wade on the brink of reversal, the act of shouting one’s abortion has become explicitly radical, and Shout Your Abortion is needed more urgently than ever before.

In 1972 Selma James set out a new political perspective. Her starting point was the millions of unwaged women who, working in the home and on the land, were not seen as “workers” and their struggles viewed as outside of the class struggle. Based on her political training in the Johnson-Forest Tendency, founded by her late husband C.L.R. James, on movement experience South and North, and on a respectful study of Marx, she redefined the working class to include sectors previously dismissed as “marginal.”

For James, the class struggle presents itself as the conflict between the reproduction and survival of the human race, and the domination of the market with its exploitation, wars, and ecological devastation. She sums up her strategy for change as “Invest in Caring not Killing.”

This selection, spanning six decades, traces the development of this perspective in the course of building an international campaigning network. It includes excerpts from the classic The Power of Women and the Subversion of the Community which launched the “domestic labor debate,” the exciting “Hookers in the House of the Lord” which describes a church occupation by sex workers, an incisive review of the C.L.R. James masterpiece The Black Jacobins, a reappraisal of the novels of Jean Rhys and of the leadership of Julius Nyerere, the groundbreaking “Marx and Feminism,” and more.

The writing is lucid and without jargon. The ideas, never abstract, spring from the experience of organising, from trying to make sense of the successes and the setbacks, and from the need to find a way forward.

A radical feminist history and street art resource for inspired readers! This book combines short biographies with striking and usable stencil images of thirty women—activists, anarchists, feminists, freedom-fighters, and visionaries.

It offers a subversive portrait history which refuses to belittle the military prowess and revolutionary drive of women, whose violent resolves often shatter the archetype of woman-as-nurturer. It is also a celebration of some extremely brave women who have spent their lives fighting for what they believe in and rallying supporters in climates where a woman’s authority is never taken as seriously as a man’s. The text also shares some of each woman’s ideologies, philosophies, struggles, and quiet humanity with quotes from their writings or speeches.

The women featured are: Harriet Tubman, Louise Michel, Vera Zasulich, Emma Goldman, Qiu Jin, Nora Connolly O’Brien, Lucia Sanchez Saornil, Angela Davis, Leila Khaled, Comandante Ramona, Phoolan Devi, Ani Pachen, Anna Mae Aquash, Hannie Schaft, Rosa Luxemburg, Brigitte Mohnhaupt, Lolita Lebron, Djamila Bouhired, Malalai Joya, Vandana Shiva, Olive Morris, Assata Shakur, Sylvia Rivera, Haydée Santamaría, Marie Equi, Mother Jones, Doria Shafik, Ondina Peteani, Whina Cooper, and Lucy Parsons.

Burn, Baby, Burn.

An incendiary mixture of genres and voices, this collection of short stories compiles a unique set of work that revolves around riots, revolts, and revolution. From the turbulent days of unionism in the streets of New York City during the Great Depression to a group of old women who meet at their local café to plan a radical act that will change the world forever, these original and once out-of-print stories capture the various ways people rise up to challenge the status quo and change up the relationships of power. Ideal for any fan of noir, science fiction, and revolution and mayhem, this collection includes works from Sara Paretsky, Paco Ignacio Taibo II, Cory Doctorow, Kim Stanley Robinson, and Summer Brenner.

Re:Imagining Change provides resources, theory, hands-on tools, and illuminating case studies for the next generation of innovative change-makers. This unique book explores how culture, media, memes, and narrative intertwine with social change strategies, and offers practical methods to amplify progressive causes in the popular culture.

Re:Imagining Change is an inspirational inside look at the trailblazing methodology developed by the Center for Story-based Strategy over fifteen years of their movement building partnerships. This practitioner’s guide is an impassioned call to innovate our strategies for confronting the escalating social and ecological crises of the twenty-first century. This new, expanded second edition includes updated examples from the frontlines of social movements and provides the reader with easy-to-use tools to change the stories they care about most.

“Underground comix,” an artistic expression of rambunctious rebellion in the Vietnam War era, were exploding in 1969 when Radical America, a journal affiliated with Students for a Democratic Society, published a memorable comic art edition. Its principal artist and editor, Gilbert Shelton, whose Fabulous Furry Freak Brothers would be enjoyed in many editions across the world, brought to the project his Texas pals Frank Stack and Jack Jackson. Also on hand, among others, were Chicago comics innovators Jay Lynch and Skip Williamson. Together, these and other contributors issued a veritable artistic manifesto: a new vernacular art had arrived!

A half century after its original appearance, Radical America Komiks retains its rebellious spirit and its rollicking humor. Dopey but also militantly antimilitarist, the comics in this reprinted volume speak to the ideas, sentiments, and artistic experiments of a generation.

Longtime underground artist Jay Kinney, coeditor of the satirical series Young Lust and Anarchy Comics, adds a foreword, and Radical America editor Paul Buhle offers an extensive introduction to the saga of comic art, radical and otherwise.

Rad Families: A Celebration honors the messy, the painful, the playful, the beautiful, the myriad ways we create families. This is not an anthology of experts, or how-to articles on perfect parenting; it often doesn’t even try to provide answers. Instead, the writers strive to be honest and vulnerable in sharing their stories and experiences, their failures and their regrets.

Gathering parents and writers from diverse communities, it explores the process of getting pregnant from trans birth to adoption, grapples with issues of racism and police brutality, probes raising feminists and feminist parenting. It plumbs the depths of empty nesting and letting go.

Some contributors are recognizable authors and activists but most are everyday parents working and loving and trying to build a better world one diaper change at a time. It’s a book that reminds us all that we are not alone, that community can help us get through the difficulties, can, in fact, make us better people. It’s a celebration, join us!

Contributors include Jonas Cannon, Ian MacKaye, Burke Stansbury, Danny Goot, Simon Knaphus, Artnoose, Welch Canavan, Daniel Muro LaMere, Jennifer Lewis, Zach Ellis, Alicia Dornadic, Jesse Palmer, Mindi J., Carla Bergman, Tasnim Nathoo, Rachel Galindo, Robert Liu-Trujillo, Dawn Caprice, Shawn Taylor, D.A. Begay, Philana Dollin, Airial Clark, Allison Wolfe, Roger Porter, cubbie rowland-storm, Annakai & Rob Geshlider, Jeremy Adam Smith, Frances Hardinge, Jonathan Shipley, Bronwyn Davies Glover, Amy Abugo Ongiri, Mike Araujo, Craig Elliott, Eleanor Wohlfeiler, Scott Hoshida, Plinio Hernandez, Madison Young, Nathan Torp, Sasha Vodnik, Jessie Susannah, Krista Lee Hanson, Carvell Wallace, Dani Burlison, Brian Whitman, scott winn, Kermit Playfoot, Chris Crass, and Zora Moniz.

“Landauer is the most important agitator of the radical and revolutionary movement in the entire country.” This is how Gustav Landauer is described in a German police file from 1893. Twenty-six years later, Landauer would die at the hands of reactionary soldiers who overthrew the Bavarian Council Republic, a three-week attempt to realize libertarian socialism amidst the turmoil of post-World War I Germany. It was the last chapter in the life of an activist, writer, and mystic who Paul Avrich calls “the most influential German anarchist intellectual of the twentieth century.”

This is the first comprehensive collection of Landauer writings in English. It includes one of his major works, Revolution, thirty additional essays and articles, and a selection of correspondence. The texts cover Landauer’s entire political biography, from his early anarchism of the 1890s to his philosophical reflections at the turn of the century, the subsequent establishment of the Socialist Bund, his tireless agitation against the war, and the final days among the revolutionaries in Munich. Additional chapters collect Landauer’s articles on radical politics in the US and Mexico, and illustrate the scope of his writing with texts on corporate capital, language, education, and Judaism. The book includes an extensive introduction, commentary, and bibliographical information, compiled by the editor and translator Gabriel Kuhn as well as a preface by Richard Day.

William Godwin (1756–1836) was one of the first exponents of utilitarianism and the first modern proponent of anarchism. He was not only a radical philosopher but a pioneer in libertarian education, a founder of communist economics, and an acute and powerful novelist whose literary family included his partner, pioneering feminist writer Mary Wollstonecraft, and his daughter Mary Godwin (later Mary Shelley), who would go on to write Frankenstein and marry the poet Percy Bysshe Shelley.

His long life straddled two centuries. Not only did he live at the center of radical and intellectual London during the French Revolution, he also commented on some of the most significant changes in modern history. Shaped by the Enlightenment, he became a key figure in English Romanticism.

This work offers for the first time a handy collection of Godwin’s key writings in a clear and concise form, together with an assessment of his influence, a biographical sketch, and an analysis of his contribution to anarchist theory and practice. The selections are taken from all of Godwin’s writings including his groundbreaking work during the French Revolution, An Enquiry Concerning Political Justice, and arranged by editor Peter Marshall to give a coherent account of his thought for the general reader.

Godwin’s work will be of interest to all those who believe that rationality, truth, happiness, individuality, equality, and freedom are central concerns of human enquiry and endeavor.

Radicals, feminists, environmentalists. Activists for animal rights, human rights, civil rights. There are plenty of rebels and dissidents putting their asses on the line. Conversely, there's never been a shortage of reactionaries seeking to repress such vision and passion.

Learning how to fight and/or defend yourself is not the same as promoting belligerent, anti-social behavior. While talk of non-violence is understandable and the struggle for peace has never been more essential, let's face it: The odds are that sooner or later you're going to end up in a confrontation that may escalate into physical violence. So, why not be prepared?

Self-Defense for Radicals will get you off and running in the right direction. From eye gouges to groin punches—you'll find a powerful collection of tactics with which we can fight back. Interspersed with words of wisdom and guidance from Emma Goldman, Bruce Lee, Angela Davis, and even Patrick Swayze, this pocket-sized pamphlet will inspire readers to not only speak truth to power but also deliver a sharp elbow to power's jutting jaw.

Presented in the street-smart style we've come to expect from Mickey Z., Self-Defense for Radicals dares you to re-examine what we perceive as acceptable behavior—both by the oppressors and the revolutionaries.

White ex-convict Cal Winter returns to his home in Oakland, California, one day to find his gorgeous, young, black wife, Prudence, drowned in the swimming pool. Prudence couldn’t swim, and Cal concludes she didn’t go in the water willingly. Though theirs was a marriage of convenience, he takes the murder personally. Along with his prison homie Red Eye, Cal sets out to find out who did Prudence in. His convoluted and often darkly humorous journey takes him deep into the world of the sexual urges of the rich and powerful, and gradually reveals the many layers of his wife’s complex identity. While doing so, Cal and Red Eye must confront their own racially charged pasts if the killer is to be caught.

Author James Kilgore has woven together strands of his own quixotic and complicated life—twenty-seven years as a political fugitive, two decades as a teacher in Africa, and six years in prison—into a heady tale of mystery and consequences.

The prison business in the US is not based on locking up, punishing, or rehabilitating dangerous hoodlums. Follow the money and find how the prison-industrial complex fits into the New World Order of free trade and imprisoned people, the war on drugs, and capital flight.

Inspired by the legacy of radical and queer black feminists of the 1970s and ’80s, Revolutionary Mothering places marginalized mothers of color at the center of a world of necessary transformation. The challenges we face as movements working for racial, economic, reproductive, gender, and food justice, as well as anti-violence, anti-imperialist, and queer liberation are the same challenges that many mothers face every day. Oppressed mothers create a generous space for life in the face of life-threatening limits, activate a powerful vision of the future while navigating tangible concerns in the present, move beyond individual narratives of choice toward collective solutions, live for more than ourselves, and remain accountable to a future that we cannot always see. Revolutionary Mothering is a movement-shifting anthology committed to birthing new worlds, full of faith and hope for what we can raise up together.

Contributors include June Jordan, Malkia A. Cyril, Esteli Juarez, Cynthia Dewi Oka, Fabiola Sandoval, Sumayyah Talibah, Victoria Law, Tara Villalba, Lola Mondragón, Christy NaMee Eriksen, Norma Angelica Marrun, Vivian Chin, Rachel Broadwater, Autumn Brown, Layne Russell, Noemi Martinez, Katie Kaput, alba onofrio, Gabriela Sandoval, Cheryl Boyce Taylor, Ariel Gore, Claire Barrera, Lisa Factora-Borchers, Fabielle Georges, H. Bindy K. Kang, Terri Nilliasca, Irene Lara, Panquetzani, Mamas of Color Rising, tk karakashian tunchez, Arielle Julia Brown, Lindsey Campbell, Micaela Cadena, and Karen Su.

Red Nation Rising is the first book ever to investigate and explain the violent dynamics of bordertowns. Bordertowns are white-dominated towns and cities that operate according to the same political and spatial logics as all other American towns and cities. The difference is that these settlements get their name from their location at the borders of current-day reservation boundaries, which separates the territory of sovereign Native nations from lands claimed by the United States.

Bordertowns came into existence when the first US military forts and trading posts were strategically placed along expanding imperial frontiers to extinguish indigenous resistance and incorporate captured indigenous territories into the burgeoning nation-state. To this day, the US settler state continues to wage violence on Native life and land in these spaces out of desperation to eliminate the threat of Native presence and complete its vision of national consolidation “from sea to shining sea.” This explains why some of the most important Native-led rebellions in US history originated in bordertowns and why they are zones of ongoing confrontation between Native nations and their colonial occupier, the United States.

Despite this rich and important history of political and material struggle, little has been written about bordertowns. Red Nation Rising marks the first effort to tell these entangled histories and inspire a new generation of Native freedom fighters to return to bordertowns as key front lines in the long struggle for Native liberation from US colonial control. This book is a manual for navigating the extreme violence that Native people experience in reservation bordertowns and a manifesto for indigenous liberation that builds on long traditions of Native resistance to bordertown violence.

Where and what was Robin Hood? Why is an outlaw from fourteenth century England still a hero today, with films, festivals and songs dedicated to his living memory?

This book explores the mysteries, the historical evidence, and the trajectory that led to centuries of village festivals around Mayday and the green space of nature unconquered by the forces in power. Great revolutionaries including William Morris adopted Robin as hero, children’s books offered many versions, and Robin entered modern popular culture with cheap novels, silent films and comics.

There, in the world of popular culture, Robin Hood continues to holds unique and secure place. The “bad-good” hero of pulp urban fiction of the 1840s–50s, and more important, the Western outlaw who thwarts the bankers in pulps, films, and comics, is essentially Robin Hood. So are Zorro, the Cisco Kid, and countless Robin Hood knockoff characters in various media.

Robin Hood has a special resonance for leftwing influences on American popular culture in Hollywood, film and television. During the 1930s–50s, future blacklist victims devised radical plots of “people’s outlaws,” including anti-fascist guerilla fighters, climaxing in The Adventures of Robin Hood, network television 1955–58, written under cover by victims of the Blacklist, seen by more viewers than any other version of Robin Hood.

Robin Hood: People’s Outlaw and Forest Hero also features 30 pages of collages and comic art, recuperating the artistic interpretations of Robin from seven centuries, and offering new comic art as a comic-within-a book.

With text by Paul Buhle, comics and assorted drawings by Christopher Hutchinson, Gary Dumm, and Sharon Rudahl; Robin Hood: People’s Outlaw and Forest Hero adds another dimension to the history and meaning of rebellion.

Punk activist collective Positive Force DC emerged in 1985, rising from the creative, politically-charged ferment of DC punk’s Revolution Summer. Born in a dynamic local scene sparked by Bad Brains, Minor Threat, and Rites of Spring, a handful of young activists also drew inspiration from UK anarcho-punks Crass and the original “Positive Force” band Seven Seconds to become one of the most long-lasting and influential exponents of punk politics.

This feature-length film by Robin Bell skillfully mixes rare archival footage (including electrifying live performances from Fugazi, Bikini Kill, Rites of Spring, Nation of Ulysses, Anti-Flag, and more) with new interviews of key PF activists including co-founder Mark Andersen (co-author of Dance of Days) and Jenny Toomey (Simple Machines, Tsunami) as well as supporters such as Ian MacKaye, Jello Biafra, Dave Grohl, Ted Leo, Riot Grrrl co-founders Allison Wolfe and Kathleen Hanna, and many more. Covering a span of 30 years, More Than a Witness documents PF’s Reagan-era origins, the creation of its communal house, FBI harassment, and the rise of a vibrant underground that burst into the mainstream amid controversy over both the means and the ends of the movement.

Through it all, Positive Force has persisted, remaining deeply rooted in their hometown, reaching out to those in need and building bridges between diverse communities, while regularly bringing punk protest to the front doors of the powers-that-be. Encompassing an ever-evolving cast of characters, the all-volunteer group has helped to nurture several generations of activists. In the best punk fashion, PF has applied creative DIY tactics and radical critiques to issues of homelessness, hunger, racism, corporate globalization, sexism, homophobia, war, gentrification, and animal/earth liberation, while struggling to constructively address conflicting dynamics and visions within the group itself.

The filmmakers’ portion of the proceeds from the sale of the DVD will benefit the We Are Family senior outreach network.

Run time: 69 minutes.

Extras:

Wake Up! A Profile of Positive Force DC (28 minutes, 1991, a film by David Weinstein) A powerful snapshot of Positive Force at its early 90’s peak, just before the eruption of Riot Grrrl and “Smells Like Teen Spirit,” with a special focus on the role of the PF communal house.

Green Hair, Grey Hair (28 minutes, 2008, a film by Katrina Taylor and Rachell Williams) Award-winning short documentary that spotlights the unlikely - but transformative - alliance between inner-city seniors and young punk rockers fostered by PF’s work with the “We Are Family” senior outreach network.

Punks, Votes, Riots (21 minutes, 2014, outtake from More Than a Witness)

Live at Positive Force (33 minutes) Bonus performances by Fugazi, Seven Seconds, Chumbawamba, Anti-Flag, Soulside, The Evens, and Beefeater.

After the military coup in Portugal on April 25th, 1974, the overthrow of almost fifty years of Fascist rule, and the end of three colonial wars, there followed eighteen months of intense, democratic social transformation which challenged every aspect of Portuguese society. What started as a military coup turned into a profound attempt at social change from the bottom up and became headlines on a daily basis in the world media. This was due to the intensity of the struggle as well as the fact that in 1974–75 the right-wing moribund Francoist regime was still in power in neighboring Spain and there was huge uncertainty as to how these struggles might affect Spain and Europe at large.

This is the story of what happened in Portugal between April 25, 1974, and November 25, 1975, as seen and felt by a deeply committed participant. It depicts the hopes, the tremendous enthusiasm, the boundless energy, the total commitment, the released power, even the revolutionary innocence of thousands of ordinary people taking a hand in the remolding of their lives. And it does so against the background of an economic and social reality which placed limits on what could be done.

Welcoming women, Blacks, and immigrants long before most other unions, the Wobblies from the start were labor’s outstanding pioneers and innovators, unionizing hundreds of thousands of workers previously regarded as “unorganizable.” Wobblies organized the first sit-down strike (at General Electric, Schenectady, 1906), the first major auto strike (6,000 Studebaker workers, Detroit, 1911), the first strike to shut down all three coalfields in Colorado (1927), and the first “no-fare” transit-workers’ job-action (Cleveland, 1944). With their imaginative, colorful, and world-famous strikes and free-speech fights, the IWW wrote many of the brightest pages in the annals of working class emancipation.

Wobblies also made immense and invaluable contributions to workers’ culture. All but a few of America’s most popular labor songs are Wobbly songs. IWW cartoons have long been recognized as labor’s finest and funniest.

The impact of the IWW has reverberated far beyond the ranks of organized labor. An important influence on the 1960s New Left, the Wobbly theory and practice of direct action, solidarity, and “class-war” humor have inspired several generations of civil rights and antiwar activists, and are a major source of ideas and inspiration for today’s radicals. Indeed, virtually every movement seeking to “make this planet a good place to live” (to quote an old Wobbly slogan), has drawn on the IWW’s incomparable experience.

Originally published in 1964 and long out of print, Rebel Voices remains by far the biggest and best source on IWW history, fiction, songs, art, and lore. This new edition includes 40 pages of additional material from the 1998 Charles H. Kerr edition from Fred Thompson and Franklin Rosemont, and a new preface by Wobbly organizer Daniel Gross.