Verso books

According to the united nations, more than one billion people now live in the slums of the cities of the South. In this brilliant and ambitious book, Mike Davis explores the future of a radically unequal and explosively unstable urban world. From the sprawling barricadas of Lima to the garbage hills of Manila, urbanization has been disconnected from industrialization, and even from economic growth.

Prisoners of the American Dream is Mike Davis’s brilliant exegesis of a persistent and major analytical problem for Marxist historians and political economists: Why has the world’s most industrially advanced nation never spawned a mass party of the working class? This series of essays surveys the history of the American bourgeois democratic revolution from its Jacksonian beginnings to the rise of the New Right and the reelection of Ronald Reagan, concluding with some bracing thoughts on the prospects for progressive politics in the United States.

Forty years after the defeat of Nazism, and twenty years after the great wave of decolonization, how is it that racism remains a growing phenomenon? What are the special characteristics of contemporary racism? How can it be related to class divisions and to the contradictions of the nation-state? And how far, in turn, does racism today compel us to rethink the relationship between class struggles and nationalism?

Towards the end of the nineteenth century, there appeared in Central Europe a generation of Jewish intellectuals whose work was to transform modern culture. Drawing at once on the traditions of German Romanticism and Jewish messianism, their thought was organized around the cabalistic idea of the “tikkoun”: redemption. Redemption and Utopia uses the concept of “elective affinity” to explain the surprising community of spirit that existed between redemptive messianic religious thought and the wide variety of radical secular utopian beliefs held by this important group of intellectuals. The author outlines the circumstances that produced this unusual combination of religious and non-religious thought and illuminates the common assumptions that united such seemingly disparate figures as Martin Buber, Franz Kafka, Walter Benjamin and Georg Lukács.

SCUM Manifesto was considered one of the most outrageous, violent and certifiably crazy tracts when it first appeared in 1968. Valerie Solanas, the woman who shot Andy Warhol, self-published this work just before her rampage against the king of Pop Art made her a household name and resulted in her confinement to a mental institution. But for all its vitriol, it is impossible to dismiss as unhinged. In fact, the work has indisputable prescience, not only as a radical feminist analysis light-years ahead of its timepredicting artificial insemination, ATMs, a feminist uprising against under-representation in the arts, but also as a stunning testament to the rage of an abused and destitute woman.

How did America recover after its years of civil war? How did freed men and women, former slaves, respond to their newly won freedom? David Roediger’s radical new history redefines the idea of freedom after the jubilee, using fresh sources and texts to build on the leading historical accounts of Emancipation and Reconstruction. Reinstating ex-slaves’ own “freedom dreams” in constructing these histories, Roediger creates a masterful account of the emancipation and its ramifications on a whole host of day-to-day concerns for Whites and Blacks alike, such as property relations, gender roles, and labor.

Is heterosexual sex inherently damaging to women? This is the central question of Straight Sex, Lynne Segal’s account of twentyfive years of feminist thinking on sexuality. Covering the thought of sixties-era sexual liberationists, alongside the ensuing passionate debates over sex and love within feminist and lesbian communities, Segal covers certain shifts toward greater sexual conservatism in the eighties. Straight Sex examines an array of issues, including sex as a subversive activity, the “liberated orgasm,” sex advice literature, gender uncertainties, queer politics, anti-pornography campaigns and the rise of the moral right.

What is the relation of art to the practice of radical politics today? Strike Art explores this question through the historical lens of Occupy, an event that had artists at its core. Precarious, indebted, and radicalized, artists redirected their creativity from servicing the artworld into an expanded field of organizing in order to construct of a new—if internally fraught—political imaginary set off against the common enemy of the 1%. In the process, they called the bluff of a contemporary art system torn between ideals of radical critique, on the one hand, and an increasing proximity to Wall Street on the other—oftentimes directly targeting major art institutions themselves as sites of action.