A one-of-a-kind lyrical and fast-paced memoir of the frontlines and trenches of Native liberation in the Four Corners and Southwest in the 1970s.

From the late summer of 1972 to the late summer of 1974, John Redhouse and many other Navajo and Indian rights activists threw all they had into mass movement organizing and direct action. And they were pretty good at it too in terms of effectiveness and impact. 

Written in the first-person and above all, with a collective spirit of generosity and witness, John Redhouse describes the hot temper of the times in the racist and exploitative border towns in the Four Corners area of the Southwest region.

As John Redhouse says, “Without the People, you have nothing. But back then, we had a lot of people WITH us.” Yes, the Power of the People, the collective human spirit of the emerging local and regional Indian civil movement, thousands of us marching in the streets of Gallup and Farmington in northwestern New Mexico with our demands. A bold citizens arrest at city hall, a downtown street riot, burning images of enemy leaders in effigy. And more marches, demonstrations, and direct actions.

Critical conversations and reflections about lessons learned at the intersection of social movements and artist production.

Diversity of Aesthetics collects powerful and timely conversations among leading cultural critics, artists, and organizers to connect the threads between some of the most pressing social struggles and conflicts of our time: policing, war, borders and migration, economic crisis. 

Across three themes—infrastructure, migration, and riots—militant thinkers, artists, educators, and others discuss aesthetic production, forms of social organization, modes of struggle against gendered and racialized capitalism, and revolutionary theory. Common to all three conversations is a commitment to rethinking the relationship between forms of critique and forms of struggle undertaken by collective social practices, offering lessons for tactics, strategies, and practices.

“They together serve as a sort of manual on collectivity, the relationship between language and political struggle, and artmaking outside institutional frameworks—among other pressing concerns.”

—Marko Gluhaich, Senior Editor, Frieze

Lessons from the greatest people’s victory against corporate neoliberal capture in
Latin America.

Water is life! From the frontlines of the greatest popular rebellion against the privatization of water comes the triumphant grassroots story of ordinary people in Cochabamba, Bolivia who became water warriors. As Echoes of Cochabamba shows in vivid detail, the 2001 “water wars” was an explosion of democracy and human rights regained by the masses, which won popular control of water supply and defied all odds by driving out the transnational corporation that had stolen their water in the first place.

Oscar Olivera, a trade union machinist who helped shape and lead a movement that brought thousands of ordinary people to the streets, powerfully conveys the perspective of a committed participant in a victorious and inspirational rebellion.

Olivera relates the selling of the city’s water supply to Aguas del Tunari—a subsidiary of US-based Bechtel—the subsequent astronomical rise in water prices, and the refusal of poverty-strapped Bolivians to pay them. Olivera brings us to the front lines of a movement, chronicling how the people organized an opposition and the dramatic struggles that eventually defeated the privatizers.

With hard-won political savvy, Olivera reflects on major themes that emerged from the war over water: the fear and isolation that Cochabambinos faced with a spirit of solidarity and mutual aid; the challenges of democratically administering the city’s water supply; and the impact of the water wars on subsequent resistance.

Twenty-five years later, Cochabamba teaches us that the real issue is not the capture of state power, but the creation of new pathways from the grassroots up.

A collection of poems spanning six decades of life, love, loss, and rebellion amidst the planetary transformations of the working class and capital, from the acclaimed Marxist philosopher and writer George Caffentzis.

"I have never considered myself a poet, yet, from my adolescence, poetry has been a constant company in my life. Only recently, however, I have begun to collect poems that I had scattered through notebooks, back-pages of articles and other occasional spaces. The desire to see them as one work is partly stimulated by the recognition of recurring themes, at times in syntony with those inspiring my political writings. Among them are the memories and the nostalgia for the Greek world of my childhood, my grandmother's house facing the Taygetus mountain, the pleasures and troubles of love and political organizing, and, with the passing of years, the mourning of dead friends and comrades, and above all the never-ending pleasure of playing with words. This book collects some of the poems that have accompanied this journey."

—George Caffentzis, from the Introduction

Conflict and resolution are the lifeblood of social movements. How, and with whom, do we find lasting friendship, support, and joy in a world in need of so much repair?

In On Activism, Friendships, and Fighting veteran organizer and social worker Benjamin Heim Shepard traces a pressing dynamic of social movements: friendship and conflict. The project builds on oral histories with more than  thirty movement organizers—from AIDS, queer, trade union, community, Occupy, and harm reduction-based movements—reflecting on the lessons, meanings, and future directions of movements and collective organizing efforts. “There is a hunger for radical history – to give credit to past struggles, to learn from our mistakes and to improve our strategies for the future,” writes Lesley Wood. Oral histories trace the stories of these movements. 

The book goes in depth into the reasons and ways the interviewees became involved in activism, the friendships they formed, and the conflicts they faced. This includes asking questions such as: where do friendships support or undermine these efforts? How can conflicts be resolved?  And where do people find lasting support?

“Blix and Glimmer take the reader on a deeply engaging, funny, and provocative tour through our deepest anxieties and darkest fantasies of an AI-dominated future. Why We Fear AI offers profound insight into how AI and capitalism today work in mutually reinforcing lockstep to deskill and devalue humans, and what it will take to wake up from our worst AI nightmares and build a better world.”

—Shannon Vallor, author of The AI Mirror: How to Reclaim Our Humanity in an Age of Machine Thinking

Fears about AI tell us more about capitalism today than the technology of the future.

Will AI come and take all our jobs? Will it dominate humanity, hack the foundations of our civilization, or even wipe humans off the face of the planet? All kinds of people seem to think so. From professors to billionaires, from artists to fraudsters, from journalists to the pope, AI nightmares have gripped the popular imagination.

Why We Fear AI boldly asserts these fears are actually about capitalism, reimagined as a kind of autonomous intelligent agent. 

Industry insiders Hagen Blix and Ingeborg Glimmer dive into the dark, twisted world of AI to demystify the many nightmares we have about it. They combine expertise in cognitive science and machine learning with political and economic analyses to cut through the hype and technobabble to show how fears about AI reflect different economic realities—from venture capitalists, to engineers, to artists, to warehouse workers. Truly understanding the potential impacts of AI means confronting capitalism and class, power and exploitation, in concrete terms. Only then can we fight the real threats to our lives, livelihoods, and the planet, instead of tilting at nightmare windmills.

A bold rethinking of cancer as a biological phenomenon, an indictment of science that serves capitalism, and a radical vision of liberated health and well-being.

More than fifty years after the declaration of the War on Cancer, we are nowhere closer to victory. The problem lies in the way cancer is understood and the “cancer-industrial complex” that has been established to address it. The cancer-industrial complex arises from the symbiosis of private corporations, nonprofit organizations such as universities and foundations, and public governmental regulatory bodies in the post-genomic era. This network profits off a vulnerable population who exist in a market that is structurally rigged against them given their physical and socioeconomic conditions. Under the auspices of scientific research and technological progress, much of which is well-meaning, a critical extortion takes place. 

Metastasis brings the cancer-industrial complex to the fore of our understanding of what cancer is, the chronic nature of the disease, its unmistakable parallels to capitalism, its inextricable link to the neoliberal model of economic development, and its disproportionate burden on nonwhite and poor populations—and what it will really take to rid ourselves of the gravest dangers to our individual and collective well-being.

Trained as a cancer scientist, Nafis Hasan offers a critical and clinical reading of current narratives of cancer research and the conditions that put the onus on the individual rather than our collective efforts to prevent cancer incidence and deaths. He offers a visionary alternative theory about carcinogenesis—one countering the dominant neoliberal idea of mutations causing cancer—and centers a dialectical approach to understanding the biology and sociology of cancer. Hasan states, “If we must fight the longest war, then it should be the war against capitalism, whose growth has metastasized in every aspect of our society and ourselves.”

Lessons for the antifascist fight now and to come rooted in well-learned lessons from Black liberation.

Revolution In These Times delivers veteran Black Panther Party member, Black Liberation Army leader, and former political prisoner Dhoruba Bin Wahad direct in his own words to offer us an analysis of how today's resurgent right-wing agenda is an outgrowth of the ongoing and historical political struggle between the oppressed masses and settler-colonialism of America and Europe. Bin Wahad not only explores how white supremacist politics have recaptured the American imagination but also prescribes a radical grassroots response to counter this ideology and supplant the violent state repression that keeps it in power. 

Bin Wahad pieces together fight-back strategies against the police and the state through a process of mobilizing in the streets, on the block, and in our communities, while gathering mass through

antifascist coalition-building in a manner unrealized since the 1960s and 1970s. In this series of interviews, Bin Wahad grounds us in the now, seamlessly weaving together firsthand accounts of his own and other’s revolutionary past in the history of struggle, alongside lessons for today.

A stunning full-color, multilingual exploration of the profound graphic and intellectual legacy of the Organization of Solidarity of the Peoples of Asia, Africa, and Latin America (OSPAAAL) for internationalism, solidarity, communication, and art among movements today.

This full-color multilingual edition includes ten international contemporary political poster-makers, artists, and designers commissioned to produce OSPAAAL-inspired prints in solidarity with today’s movements: Friends of Ibn Firnas (USA), Yuko Tonohira (Japan/USA), Ganzeer (Egypt/USA), Un Mundo Feliz (Spain), Steven Rodriguez (USA), Dignidad Rebelde, Tomie Arai (USA), Sublevarte Colectivo (Mexico), Jamaa Al-Yad (Lebanon/Worldwide), and A3CB (Japan).

A memoir of the infamous “last Surrealist,” Marianne Ivsic. Alain Segura documents their initial meeting in 1967, amid the heady militancy of May ’68. 

Alain Segura was a teenage anarchist in Paris during the mid-to-late 1960s when he hung around with members of the Enragés and the Situationist International. He was particularly captivated by Yugoslavian militant, poet, and painter Marianne Ivsic, a member of André Breton’s Surrealist group. It was Guy Debord who approvingly called her “the last surrealist.” Segura wrote this book so that Ivsic’s life and creative legacy are not forgotten.

A Season with Marianne is a gossipy memoir, that details the heady days of friendship, rebellion, and creative militancy surrounding May ’68, against the backdrop of a colossal split between the Anarchist International and the Situationists in 1967, and the impossible demands of a revolution briefly glimpsed by the author through an encounter with the last surrealist.

“A fascinating look at lives that pushed back against the status quo — and created something vital in the process.” —Inside Hook

“Segura doesn’t purport to uncover the secrets of [Marianne’s] identity in her death, his memoir succeeds in preserving his memory of a lively and intellectual avant-garde community, while paying tribute to Marianne Ivsic’s singular and impassioned spirit.” — Asymptote Journal