How does the spectacle of the sufferings of others (via television or newspapers) affect us? Are viewers inured--or incited--to violence by the depiction of cruelty? In Regarding the Pain of Others, Sontag takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and the Nazi death camps, to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, Israel and Palestine, and New York City on September 11, 2001. In Regarding the Pain of Others Susan Sontag once again changes the way we think about the uses and meanings of images in our world, and offers an important reflection about how war itself is waged (and understood) in our time.Features an analysis of our numbed response to images of horror. This title alters our thinking about the uses and meanings of images, and about the nature of war, the limits of sympathy, and the obligations of conscience.

    A Russian Jewish immigrant at the age of 17, she moved by her own efforts from seamstress in a clothing factory to internationally known radical lecturer, writer, editor and friend of the oppressed. This book is a collection of her remarkably penetrating essays, far in advance of their time, originally published by the Mother Earth press which she founded.In the first of these essays, Anarchism: What It Really Stands For, she says, "Direct action, having proven effective along economic lines, is equally potent in the environment of the individual." In Minorities Versus Majorities she holds that social and economic well-being will result only through "the non-compromising determination of intelligent minorities, and not through the mass." Other pieces deal with The Hypocrisy of Puritanism; Prisons: A Social Crim and Failure; The Psychology of Political Violence—note the relevence of these themes to our own time; The Drama: A Powerful Disseminator of Radical Thought; Patriotism: A Menace to Liberty; and The Tragedy of Woman's Emancipation. A biographical sketch by Hippolyte Havel precedes the essays.Anarchism and Other Essays provides a fascinating look into revolutionary issues at the turn of the century, a prophetic view of the social and economic future, much of which we have seen take place, and above all, a glimpse into the mind of an extraordinary woman: brilliant, provocative, dedicated, passionate, and what used to be called "high-minded."Unabridged republication of the 3rd (1917) edition, with a new Introduction by Richard Drinnon. Frontispiece. xv + 271 pp. 5-3/8 x 8-1/2. Paperbound.

    Verbatim reports of speeches by leaders, and comments of bystanders—set against an idealized backdrop of the proletariat united with soldiers, sailors, and peasants—are balanced by passionate narratives describing the fall of the provisional government, the assault on the Winter Palace, and Lenin's seizure of power.Accompanied by contemporaneous photographs, this gripping record by a western journalist has been acclaimed worldwide since its first publication in 1919. Endorsed by Lenin as a "truthful and most vivid exposition," the work was the basis for the Academy Award-winning 1981 film Reds.

    The esteemed historian Robert O. Paxton answers this question for the first time by focusing on the concrete: what the fascists did, rather than what they said. From the first violent uniformed bands beating up “enemies of the state,” through Mussolini’s rise to power, to Germany’s fascist radicalization in World War II, Paxton shows clearly why fascists came to power in some countries and not others, and explores whether fascism could exist outside the early-twentieth-century European setting in which it emerged. The Anatomy of Fascism will have a lasting impact on our understanding of modern European history, just as Paxton’s classic Vichy France redefined our vision of World War II. Based on a lifetime of research, this compelling and important book transforms our knowledge of fascism–“the major political innovation of the twentieth century, and the source of much of its pain.”

    His scathing analysis of everything that’s wrong with our society reaches more and more people every day. His brilliant critiques of—among other things—capitalism, imperialism, domestic repression and government propaganda have become mini-publishing industries unto themselves. But, in this flood of publishing and republishing, very little ever gets said about what exactly Chomsky stands for, his own personal politics, his vision of the future.Not, that is, until Chomsky on Anarchism, a groundbreaking new book that shows a different side of this best-selling author: the anarchist principles that have guided him since he was a teenager. This collection of Chomsky’s essays and inter-views includes numerous pieces that have never been published before, as well as rare material that first saw the light of day in hard-to-find pamphlets and anarchist periodicals. Taken together, they paint a fresh picture of Chomsky, showing his lifelong involvement with the anarchist community, his constant commitment to nonhierarchical models of political organization and his hopes for a future world without rulers.For anyone who’s been touched by Chomsky’s trenchant analysis of our current situation, as well as anyone looking for an intelligent and coherent discussion of anarchism itself, look no further than Chomsky on Anarchism.Noam Chomsky is one of the world’s leading intellectuals, the father of modern linguistics, an outspoken media and foreign policy critic and tireless activist. He lives in Boston, Massachusetts.

    In this study, historian Richard Stites offers a vivid portrayal of revolutionary life and the cultural factors--myth, ritual, cult, and symbol--that sustained it, and describes the principal forms of utopian thinking and experimental impulse. Analyzing the inevitable clash between the authoritarian elements in the Bolshevik's vision and the libertarian behavior and aspirations of large segments of the population, Stites interprets the pathos of utopian fantasy as the key to the emotional force of the Bolshevik revolution which gave way in the early 1930s to bureaucratic state centralism and a theology of Stalinism.

    In 9.5 Theses on Art and Class and Other Writings Ben Davis takes on a broad array of contemporary art’s most persistent debates: How does creative labor fit into the economy? Is art merging with fashion and entertainment? What can we expect from political art? Davis argues that returning class to the center of discussion can play a vital role in tackling the challenges that visual art faces today, including the biggest challenge of all—how to maintain faith in art itself in a dysfunctional world.

    Anarchists repeatedly appeal to anthropologists for ideas about how society might be reorganized on a more egalitarian, less alienating basis. Anthropologists, terrified of being accused of romanticism, respond with silence . . . . But what if they didn't?This pamphlet ponders what that response would be, and explores the implications of linking anthropology to anarchism. Here, David Graeber invites readers to imagine this discipline that currently only exists in the realm of possibility: anarchist anthropology.

    This work features chapters ranging from a study of industrial and brutalist aesthetics in Britain, the Sexpol of Wilhelm Reich in film and design, and the alienation effects of Brecht and Hanns Eisler on record and on screen.

    While progressive political movements, including the Marxist and feminist movements, have fought for equal pay, better work conditions, and the recognition of unpaid work as a valued form of labor, even they have tended to accept work as a naturalized or inevitable activity. Weeks argues that in taking work as a given, we have “depoliticized” it, or removed it from the realm of political critique. Employment is now largely privatized, and work-based activism in the United States has atrophied. We have accepted waged work as the primary mechanism for income distribution, as an ethical obligation, and as a means of defining ourselves and others as social and political subjects. Taking up Marxist and feminist critiques, Weeks proposes a postwork society that would allow people to be productive and creative rather than relentlessly bound to the employment relation. Work, she contends, is a legitimate, even crucial, subject for political theory.

    During that quarter-century, by Oleg Khlevniuk’s estimate, he caused the imprisonment and execution of no fewer than a million Soviet citizens per year. Millions more were victims of famine directly resulting from Stalin's policies. What drove him toward such ruthlessness? This essential biography, by the author most deeply familiar with the vast archives of the Soviet era, offers an unprecedented, fine-grained portrait of Stalin the man and dictator. Without mythologizing Stalin as either benevolent or an evil genius, Khlevniuk resolves numerous controversies about specific events in the dictator’s life while assembling many hundreds of previously unknown letters, memos, reports, and diaries into a comprehensive, compelling narrative of a life that altered the course of world history.   In brief, revealing prologues to each chapter, Khlevniuk takes his reader into Stalin’s favorite dacha, where the innermost circle of Soviet leadership gathered as their vozhd lay dying. Chronological chapters then illuminate major themes: Stalin’s childhood, his involvement in the Revolution and the early Bolshevik government under Lenin, his assumption of undivided power and mandate for industrialization and collectivization, the Terror, World War II, and the postwar period. At the book’s conclusion, the author presents a cogent warning against nostalgia for the Stalinist era.

    Indeed it was with a Salon review that he made his literary debut: and it is significant that even at this early stage - in 1845 - he was already articulating the need for a painter who could depict the heroism of modern life. This he was to find in Constantin Guys, whom he later celebrated in the famous essay which provides the title-piece for this collection. Other material in this volume includes important and extended studies of three of Baudelaire's contemporary heroes - Delacroix, Poe and Wagner - and some more general articles, such as those on the theory and practice of caricature, and on what Baudelaire, with intentional scorn, called philosophic art. This last article develops views only touched on in Baudelaire's other writings. This volume is extensively illustrated with reproductions of works referred to in the text and otherwise relevant to it. It provides a survey of some of the most important ideas and individuals in the critical world of the great poet who has been called the father of modern art criticism.

    Originally published in 1766, the Laocoön has been called the first extended attempt in modern times to define the distinctive spheres of art and poetry.

    The arche, or origin, is always also a command, and a beginning is always the first principle that governs and decrees. This is as true for theology, where God not only creates the world but governs and continues to govern through continuous creation, as it is for the philosophical and political tradition according to which beginning and creation, command and will, together form a strategic apparatus without which our society would fall apart.The five essays collected here aim to deactivate this apparatus through a patient archaeological inquiry into the concepts of work, creation, and command. Giorgio Agamben explores every nuance of the arche in search of an an-archic exit strategy. By the book's final chapter, anarchy appears as the secret center of power, brought to light so as to make possible a philosophical thought that might overthrow both the principle and its command.

    This is Kapuscinski's vivid, compelling and personal report on the life and death of the Soviet superpower, from the entrance of Soviet troops into his hometown in Poland in 1939, through his journey across desolate Siberia and the republics of Central Asia in the 1950s and 60s, to his wanderings over the vast Soviet lands - from Poland to the Pacific, the Arctic Circle to Afghanistan - in the years of the USSR's decline and final disintegration in 1991.