Verso books

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.

The exchange of ideas makes history as surely as the exchange of gunfire. The Age of Globalization (previously published as Under Three Flags) is an account of the unlikely connections that made up late nineteenth-century politics and culture. In particular, Benedict Anderson examines the links between militant anarchists in Europe and the Americas and the anti-imperialist uprisings in Cuba, China, and Japan.

The Autonomous City is the first popular history of squatting as practised in Europe and North America. Alex Vasudevan retraces the struggle for housing in Amsterdam, Berlin, Copenhagen, Detroit, Hamburg, London, Madrid, Milan, New York, and Vancouver. He looks at the organisation of alternative forms of housing—from Copenhagen’s Freetown Christiana to the squats of the Lower East Side—as well as the official response, including the recent criminalisation of squatting, the brutal eviction of squatters and their widespread vilification.

During the pitched battle over slavery in the United States, Black writers - enslaved and free - allied themselves with the cause of abolition and used their art to advocate for emancipation and to envision the end of slavery as a world-historical moment of possibility. These Black writers borrowed from the European tradition of Romanticism - lyric poetry, prophetic visions - to write, speak, and sing their hopes for what freedom might mean. At the same time, they voiced anxieties about the expansion of global capital and US imperial power in the aftermath of slavery. They also focused on the ramifications of slavery's sexual violence

When the state recedes, the commune-form flourishes. This was as true in Paris in 1871 as it is now whenever ordinary people begin to manage their daily lives collectively. Contemporary struggles over land - from the zad at Notre-Dame-des-Landes to Cop City in Atlanta, from the pipeline battles in Canada to Soulèvements de la terre - have reinvented practices of appropriating lived space and time. This transforms dramatically our perception of the recent past.