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Three Reviewed in Lambda Literary

by Sarah Burghauser
Lambda Literary
September 2012

One morning, a seventeen year-old girl opens her high school English textbook to “The Love Song of J. Alfred Prufrock” and reads her favorite lines aloud:

Shall I part my hair behind? Do I dare to eat a peach? 
I shall wear white flannel trousers, and walk upon the beach. 
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.


She lifts a peach from the fruit bowl in her kitchen and considers it: “Do I dare eat a peach?”  Three possible answers to this simple question spur a trinity of parallel lives in Monahan’s sparkling new novel.

Twenty-four years later, on one path, that girl is Katherine, a physician who contacts an old lover who had left her for Catholicism.  On a second, she is Kitty, a married woman who falls for her female English professor.  On a third, she calls herself Antonia, a lesbian separatist who helps found an all-women’s commune built on a renovated oil rig.

What unfolds will delight, surprise, and challenge readers to ask hard questions about faith, identity, fate, and choice.

While the premise may sound overcooked to some (al la Gwenyth Paltrow’s Sliding Doors), the superb writing in Three (Flashpoint Press) far offsets any reservations skeptics may have about plot.

Even though all three characters have a different set of details and circumstances, the same symbols, tropes, and metaphors shadow each character’s plot line–like ghosts of their alternate selves; they are three versions of the same story.  Reference to the ocean, for instance, is a strand consistently pulled through the life of each character.

Likewise, all three share the same sense of humor and deal with health and illness in similar ways: in one scene, Katherine mocks her patient’s choice to “honor the pain” in her shoulder rather than accepting medical advice from her physician.

In another scene, Antonia scorns her separatist comrades for renouncing any kind of western medicine in favor of chanting, which has severe consequences.  Kitty also copes with pain and health when her father falls ill.

In each instance, despite the trio’s snarky critique of a New Age dilettante’s approach to healing, they all have an intuitive inclination toward the spiritual, and a deep belief that “the universe” has a way of interceding in our lives.

With an air of myth, an acute sense of irony, a climactic sex scene you’ll never forget, and a nod to Jeanette Winterson (Oranges are Not the Only Fruit), this savory book will keep a smirk of pleasure smeared across your face at every pithy dialogue, sharp observation, and lyrical turn of phrase.

Succulent, charming, and sexy, Three is a book you’ll want to come back to.

Buy book now | Download e-Book now | Back to Annemarie Monahan's Author Page




From South-Central to Noir Cool: Gary Phillips

By Wendy Werris
Publishers Weekly

August 24, 2012

Gary Phillips, 57, is the epitome of the noir cool he writes about in his mysteries, looking like a linebacker with an attitude—until something makes him laugh, and the big grin on his face reveals the genial guy inside.

His latest book and fourteenth mystery novel, The Warlords of Willow Ridge (Kensington, October), brings a new character, an outcast named O'Conner, to a literary lineup that already includes two noir series. Warlords takes place in the Los Angeles desert suburb of Hemet, hard hit by the economic downturn, its houses emptied by foreclosures, one of which O'Conner moves into as a squatter. An antihero figure, O'Conner becomes involved in two levels of criminal activity in Hemet-white-collar crime and gang warfare-and is forced, in middle age, to chose between continuing his violent past and reforming his life. "I don't tell you overtly if O'Conner is black or white," Phillips says. "I leave it to the reader to determine."

The Los Angeles riots in 1992-sparked by the not-guilty verdicts in the trial of four LAPD officers following the beating of Rodney King-inspired Phillips's first mystery, Violent Spring (Point Blank Books, 1994), published two years after the civil uprisings and the first of what would become the Ivan Monk mystery series. Violent Spring provides literary insight into the riots and introduced the black private eye Ivan Monk.

"I wrote [Violent Spring] because I was working for the Liberty Hill Foundation, which funded community organizing work in that area," says Phillips. "As the outreach director, my work took me to various parts of the city to meet with community groups and gang members."

"I got started as an activist growing up in South-Central, my introduction being around police abuse issues." His work with the Legal Aid Foundation of Los Angeles led him to write the novella The Underbelly (PM Press, 2010), about a homeless Vietnam vet who's been denied benefits from the VA.

"My activism has informed my fiction to the extent that, particularly with the Monk books, political or social issues have been part of the fabric of the books," says Phillips. "But I'm also influenced by hard-boiled material and the noir school. I write about things that interest me, but invariably about race or politics." He's unsure about how to categorize his work. "I go into bookstores and want to see my books in the mystery section, but also in the African-American section if there is one. I've been in both, and it's an interesting dilemma because it could affect your sales," Phillips says. "Does being in the mystery ghetto prevent me from getting black readers? If I'm in the other section, do I miss out on the mystery readers? I don't know. It's a bifurcated situation."

But one that Phillips can live with. He's the current president of the Southwest chapter of Mystery Writers of America and has ingratiated himself into the mystery writing community, remaining one of its most popular figures for more than 20 years. "There is a raw energy in what Gary writes," says Michael Connelly. "His work is almost as physically imposing as he is because he's a no-holds-barred sort of writer." Besides several stand-alone titles, Phillips, who describes his style as "hard-boiled tales with dashes of Chester Himes and Ashley Montague," is also known for the Martha Chainey series, featuring a shadowy ex-showgirl and her exploits with the Vegas mob as a crime solver.

Phillips is also a successful comic book author. Both D.C. Comics' Vertigo imprint and Dark Horse have published him, partnering Phillips with various illustrators. His op-ed pieces appear in the Washington Post, the Los Angeles Times, and other national periodicals, and he's currently working on an e-book novella about "an adventure character that's a cross between Batman and Shaft." He contributes to the blogs Dr. Pop, FourStory, and two others. "I still go to demonstrations, but I'm writing full-time now," he says. "This doesn't mean that the writing goes here, and the activism goes here. In the best of both worlds, they come together."


Buy book now | Download e-Book now | Back to Gary Phillips Author Page




Let Freedom Ring in Earth First! Online Journal

By Sasha, Earth First! Newswire
September 2012

The Dialectics of Incarceration: Let Freedom Ring Shows the Way

Let Freedom Ring (PM Press 2008) is a much anticipated and life-changing compilation. Spanning nearly half a century, this anthology holds much more than documents from the prisoner support. Editor Matt Meyer pieces together crucial reports and primary sources with artful delicacy to lead the reader through what many understandably consider the most pressing issue of our time: the growth of the prison industrial complex and its terrible agency in the repression of democracy.

With an entire chapter devoted to John Brown, as well as material from Assata Shakur and other liberationists, this book is a brick in many ways. I talked to one EF!er last night about Let Freedom Ring, and after seeing its size, he declared it’d be the last thing he threw at the cops if they came banging down his door (after he ran out of ammo).  Of course, I suggest reading it rather than throwing it. If it is rather like a large brick, it will provide a fundamental piece to build the foundation your knowledge of the state, on which your activism will be reliably grounded.

From its gripping forward from Adolfo Perez Esquivel, Let Freedom Ring lets you know that the subject is as serious as it is heart wrenching, but beyond that, it places its hand on your shoulder, puts the light of hope in your soul, and, with a tearful eye, promises to lead you through the obfuscated labyrinth. As the work proceeds, the reader meets the cobweb-covered and occulted details of federal case after federal case, as Meyer dusts off the intricate web of deceit and treachery to expose the back-handed methods of law enforcement efforts in subverting and “neutralizing” civil rights, womens’, GLBT, earth and animal liberation, and many other movements.

Although it has taken us four years to review Let Freedom Ring, the 800-page book flies past. I read it in less than a week. It absorbed me. It moved me to a place in time where I was beside myself. Anger, grief, empathy—your nerves are lit, and any sense of confusion turns into a feeling of ecstatic clarity. There is something existential that moves beneath these pages: it is the revolution, which forces you to reckon with it, and in-so-doing, it becomes you. You cannot move forward until you understand the reality that dwells in Let Freedom Ring.

As an article by Brendan Story and Margie Lincita shows, the earth and animal liberation movements have been suffering from the clampdown of the PATRIOT Act security state for over a decade. However, it is impossible to fully grasp what the Green Scare means until greater connections are made to US repression of political and social movements of the past. Naji Mujahid and Ryme Kathouda show in their insightful article, “Once Upon a Time, They Called Me a Terrorist Too”, that the PATRIOT Act is merely an extension of COINTELPRO.

Earth First! fell victim to COINTELPRO in 1990, when Judi Bari was targeted by the FBI’s San Francisco office under the FBI agent, Richard Held, but what many don’t realize is that Held had performed as an agent for the FBI in campaigns against the independentistas in Puerto Rico, as well as against the American Indian Movement and the Black Panthers. Besides this immediate and intimate connection between the repression of Earth First! and the repression of other anti-imperialist struggles, Let Freedom Ring also illuminates the specifics of human rights violations by the US government while exposing the history of peoples’ attempts to obtain justice for prisoners.

The manifold of crucial documents that provide the basis of a history of prisoner support work provides perhaps the most important function of Let Freedom Ring. Laying out transcripts from various international peoples’ tribunals that have attempted to call the US to account for its violation of international human rights treaties, Meyer reveals the extent and strategic intent of international organizing surrounding the hope-filled movement for justice. The reader also encounters original documents from and about vibrant movements like the Jericho Movement and Critical Resistance which seek to bring amnesty for political prisoners and abolish the prison industrial complex, respectively.

Included as well are several poems written by political prisoners, which serve to provide a direct connection the feelings underlying the movement. A poem by Emmanuel Ortiz, for instance, proclaims: “So if you want a moment of silence/ Turn off the oil pumps/ Turn off the engines, the televisions/ Sink the cruise ships/ Crash the stock markets/ Unplug the marquee lights/ Delete the e-mails and instant messages/ Deral the trains, ground the planes… Let your silence begin at the beginning of crime./ And we, Tonight,/ We Will keep right on singing/ For our dead.”

The further the reader delves into the struggles of the women activists, Puerto Rican independentistas, the Mexican@ and Chican@ activists, the Black Liberationists, queer and trans activists, and others who have become subjects of the prison industry, the more Let Freedom Rings opens the floodgates for thought and theory to create inroads and connect the dots. Brilliant works by thinkers like Mumia Abu-Jamal, Jalil Muntaqim, Sundiata Acoli, Dhoruba Bin-Wahad, Susan Rosenberg, Luis Falcón, and more, show how repression is not confined to politics, the prison industry can also be seen as a broad mechanism of social and racial, imperialist oppression—one that, indeed, needs to be abolished. As Ashante Alston puts it in the postscript: “We must join together as revolutionaries who still believe in the dreams of our peoples . . . We will create on the ashes of imperial evil. The story continues . . . We will win!”

Buy this book now | Return to Matt Meyer's Author Page now




Review: Cook, Eat, Thrive

by George Erdosh
City Book Review
June 14, 2012

This is a simple, basic, yet excellent vegan cookbook without unnecessary fluff and filling, not even illustrations. Though the book production is almost austere, author Tienzo draws from a wide-ranging international repertoire, providing reasonably simple recipes using available ingredients. The beginner vegan cook should have no difficulty with most of the recipes.

“This book is about creating global dishes while eating locally.”

The twelve-page introduction provides everything a vegan cook needs to know: ingredients, equipment, terminology. Tienzo labels the recipes with several or all of six symbols, whichever apply: raw, low fat, soy-free, wheat-free, tasty for all, and quick-fix. Head notes are brief and informative; sidebars are equally good. Several tables provide information such as spice rubs, infusing oils, or a guide to grains. One table gives extensive menu lists for all occasions (e.g., kid-friendly dinner, poker night, vegan wedding fare). Book organization is very good with color tabs separating chapters to help the cook find them quickly. Layout of recipes is excellent, all on single pages to be cook-friendly. To give the pages some color, the black text is interspersed with purple text. The dessert section is extensive (“This is the largest section of the book, and that’s no accident”). The well cross-referenced index is also excellent.

Buy book now | Buy e-Book now | Back to Joy Tienzo's Author Page




Review: Punk Rock: An Oral History

Psychobabble.com
July 31, 2012

By most accounts, Jon Savage typed the last word on British punk twenty years ago when he published his 600-page history England’s Dreaming. Yet former Membrane John Robb recognized the gap in the tale that appears in any third person telling: the punks didn’t get to tell their side of the story in their own words. So he went to work on picking the brains of over 100 first and second wavers and ended up with his own bulky tome titled Punk Rock: An Oral History. Not surprisingly, the 2006 book recycles a fair share of what Savage already laid down, but it is meaningful to get the story straight from Mick Jones, Siouxsie Sioux, Captain Sensible, Gaye Advert, Ari Up, Pete Shelley, Poly Styrene, and the lot, particularly since some of these folks are no longer pogoing through this mortal coil.

Our cast spends the first 50 or so pages rhapsodizing about their influences and putting to rest the well-traveled clichés that the punks had nothing but disdain for hippie psychedelia, prog, and glam. Then they get deep into the details of their formations, their rises and falls, coloring in between the timelines with the personal perspectives and stories that make Robb’s book unique and essential in its own right. Don Letts comes clean about being the second biggest collector of Beatles memorabilia in England before hocking it all to devote himself to reggae and punk. Captain Sensible relates the tear-jerking tale about how The Damned’s first break up drove him to cry his peepers out while watching Abba: The Movie before heading to XTC’s debut record release party to molest their cake. Robb also gives voice to those who got shut out of England’s Dreaming, spending much time with agit-proppers Crass and paying respect to such punk offshoots as Two-Tone ska, Goth, and Oi, which our tour guide is keen to sever from its racist image. Such politics play a powerful role as punk finally invites feminists to the Rock & Roll party and right wing, National Front ideology attempts to piss on it.

Robb plays a broader role in his book than mere behind-the-scenes interviewer and editor with his sometimes awestruck, sometimes sly interjections. His retort to Sniffin’ Glue-founder Mark Perry’s rant about how The Clash unforgivably betrayed the scene when they signed with CBS Records is—no hyperbole—the greatest footnote ever footnoted. While I have no reservations in recommending PM Press’ new reprint of Punk Rock: An Oral History, I must offer one valuable bit of advice: feel free to skip ahead anytime you see a quote from that whiney, self-impressed windbag John Lydon. Put a sock in it, Johnny!

Buy book now | Buy e-Book now | Back to John Robb's Author Page




Notes from the Underground



















by Matthew Newton
Guernica

August 1, 2012

Writer and former radical bookstore owner Sean Stewart talks about his new book on the underground press that was so vital to '60s counterculture.


Photographs courtesy Shaun RobertWith the Occupy Wall Street protests still fresh in the nation’s collective memory, and hacktivist groups such as Anonymous and LulzSec now a part of our culture, modern American protest has a different identity than the counterculture movements of the 1960s.

One shared trait, however, is the importance these movements have placed on mass communication. In the case of OWS, social media played a critical role, facilitating instantaneous eyewitness reports from Liberty Plaza/Zuccotti Park and providing the tools to quickly organize. But old media models had their place. OR Books’ Occupying Wall Street: The Inside Story of an Action that Changed America and n+1’s Occupy! An OWS-Inspired Gazette, are key examples. Taking cues from the Sixties underground press, these publications offered readers a more holistic view than social media could provide, and tipped their hats to a publishing movement that often remains historically unsung.

Of course, no discussion of American counterculture in the 1960s is complete without mentioning the role and influence of the underground press. In the wake of the civil rights movement, and as public opposition to the war in Vietnam swelled, this ad hoc network of the alternative newspapers found a growing audience among the disaffected and disenfranchised.

What set these small, independent weeklies apart from the journalistic establishment was that they didn’t cover news in the same fashion as The New York Times, Boston Globe, or Chicago Tribune. Instead, the loose-knit group of editors, writers, photographers, and illustrators that comprised the underground press focused heavily on the concerns of the rising New Left, the far left, and the infinite nuances of the counterculture scenes sprouting up from Haight-Ashbury to the East Village, and every small town in-between. In essence, the underground press represented the freaks, a mandate lovingly embraced by the movement’s founders.

In On the Ground: An Illustrated Anecdotal History of the Sixties Underground Press in the U.S. (PM Press), editor Sean Stewart—who until 2009 operated Babylon Falling, a San Francisco bookstore and gallery space that was a forum for revolutionary literature and progressive visual art—delves into the origins, aspirations, and internal politics of America’s radical alternative news scene. Imagine artwork by R. Crumb, Bill Narum, and Rick Griffin; a column by Charles Bukowski; reporting from Ray Mungo and Allen Young; that was the tenor of the underground press.

“The underground press was part of a vast and amorphous scene,” Stewart writes in the book’s introduction, “any attempt on my part to be comprehensive would have been folly.” Nonetheless, Stewart has assembled a primer that dives deep into the psyche of American counterculture. “For me, the relatability of the era lies in the humor, irreverence, and open defiance to authority,” Stewart tells me. “But the most important legacy is that regular people from all walks of life stood up and demanded to be counted and to be heard.”

The social, cultural, and political turbulence chronicled by such off-radar newspapers as Rat Subterranean News, Screw, San Francisco Oracle, East Village Other, Black Mask, and Los Angeles Free Press, to name only a few, is commonly overlooked in mainstream histories. As a result, what often remains is the same scattershot of familiar imagery from the late 1960s/early 1970s that’s lingered in the nation’s collective memory: hippies dancing with flowers in their hair at the Monterey Pop Festival during the Summer of Love; Timothy Leary at the Human Be-In at Golden Gate Park in 1967, urging the Haight-Ashbury crowds to “Turn on, tune in, drop out”; U.S. military tanks on city streets during the race riots in Detroit and Newark; the rise of the Hell’s Angels as the new American outlaws; and the Kent State University shootings and Mary Ann Vecchio’s haunting scream.

What makes On the Ground resonate, aside from its interviews, are the visuals culled from Stewart’s extensive private collection of underground newspapers. Given the increasing scarcity of the print material from that era, On the Ground depicts the movement’s aesthetics and anti-authoritarian bent in a way that oral histories fall short.

For Stewart, who first got introduced to radical literature through hip-hop—via references by Tupac, BDP, and the Beastie Boys, among others—documenting American counterculture has become a natural extension of his prior work as a bookseller and curator. Babylon Falling, his shuttered bookstore and gallery space in San Francisco, is now a blog dedicated to cataloging the revolutionary publications and ephemera from the Sixties and Seventies, with a running thread on hip-hop culture. Over the last several months, I’ve corresponded with Stewart by email, discussing his book, the historical significance of the underground press, and what modern-day protest looks like. It turns out that the names may be different, but the struggles remain eerily familiar.

Matthew Newton for Guernica

Guernica: Many of the visuals in the book are pulled from your own collection. Have these publications become increasingly hard to find in the fifty-some years since their initial release?

Sean Stewart: Because they are starting to pop up at estate sales, there are actually more available now. Of course I also pick up papers once in a while on eBay, but prices are criminally inflated online, so those come in one-by-one in a trickle. I don’t want to snitch on myself too much, but the most fruitful hustle for me is taking trips deep into New Jersey.

Guernica: In the book, you talk with a cross section of people who were involved in the production and distribution of underground publications such as the Berkeley Barb, Chicago Seed, Helix, Los Angeles Free Press, The East Village Other, Screw: The Sex Review, and The Black Panther, among others. During your interviews, did any specific conversation help you better understand the social and political tone of that time period?

Sean Stewart: If I had to single out just one, it would be my conversation with Alice Embree of the Austin paper, The Rag. She helped me to get a deeper understanding of just how insidious the male chauvinism in the movement was and why the emergence of Women’s Liberation, and its manifestation in the underground press, was inevitable.

… we’re all familiar with the cases of overt oppression that existed, but it’s much harder to identify or even articulate the nature of the oppression that is hardwired into the culture.

Guernica: Did Alice Embree give any specific examples of the type of male chauvinism that was dominant in the movement?

Sean Stewart: Definitely, but it wasn’t so much the particular abuses, or that she was trying to harangue me about male chauvinism, it was just something in the way she related them that hit me. We’re sitting in her living room and she’s telling me stories illustrating just how much of a badass she was and yet she still, reflexively, fell into the role of typist in the early days at The Rag. Of course, we’re all familiar with the cases of overt oppression that existed, but it’s much harder to identify or even articulate the nature of the oppression that is hardwired into the culture—the sort of thing that flows quietly beneath the surface, assumptions and attitudes that we accumulate little by little over the years. I don’t know, it just made sense to me the way she told it.

Guernica: Were any mainstream newspapers or magazines getting the counterculture coverage right? And do you think the underground press caused traditional media outlets to feel threatened?

Sean Stewart: For the Sixties, you can’t get me to go more mainstream than Ramparts magazine.

I tread carefully here because the concept of “getting it right” rests on a lot of assumptions. For my part, I’m not so concerned with facts as I am with truth. And I think reading the underground press purely in the pursuit of facts would be folly, but it was one of the few places where you could get a true representation of the culture as it was being experienced. Hunter S. Thompson has a great quote about the blind spots inherent in any posture of objectivity, and I tend to agree with the Gonzo approach as it applies to truth and facts.

That being said, things are so bad with the media right now that you really can look back on the mainstream press of the Sixties and Seventies and imagine that they were radical. I’m even willing to concede that great journalism was done back then, but if you follow the thread to the mid-Sixties you begin to realize that the mainstream media was essentially embarrassed into sympathetic coverage of the anti-war movement and forced to occasionally train a skeptical eye on government corruption.

The youth movement exploded right under their noses, and while they served up bullshit pro-war pieces and condescending articles about the counterculture, the underground press was right there, on the ground, reporting the shit as they lived it. I don’t want to overstate the case, but I’m sure the mainstream press felt threatened. I doubt that the tone of their coverage would have ever changed if they didn’t sense an existential threat.

Guernica: The underground press is historically significant for a lot of reasons, but one aspect that comes to mind is this idea of activist journalism. I can’t remember who said it in the book, but one of the interview subjects talked about how he went from being an observer to a reporter to a warrior. Was this experience typical for many who were involved?

Sean Stewart: I think it was. It was a culture of authenticity that demanded full involvement, and so people working at the papers were evolving at the same pace and in the same direction as the movement.

Guernica: You were born in 1979, more than a decade after the formative years of America’s underground press. Since you didn’t live through the social and political turbulence of that era, what initially sparked your interest in the subject matter covered in your book?

Sean Stewart: It’s definitely been a gradual process over the years. If I had to map it, I would start with my Mad magazine obsession as a kid. Later on, as a teenager, listening to hip-hop provided the first exposure to this stuff. A lot of the artists I was listening to planted the seed for ideas and names that I would encounter later: Tupac talking about his [Black] Panther heritage; the Robert Williams artwork on the cover of BDP’s Sex and Violence album; all the Sixties and Seventies soul, funk, and jazz that hip-hop producers were sampling from their parents’ record collections.

I was living in Jamaica, so this stuff was beyond scarce. I treasured everything I could get my hands on, so there was really nothing escaping me—every little lyric and aspect of the music, every detail of the artwork. I even got put on to Vaughn Bode from an Ad Rock lyric on “Sure Shot,” and then searching out Bode stuff is what put the East Village Other on my radar. Basically, these ideas were floating around in my sphere as a kid, and I think I was primed to be receptive to the papers once I started coming across them.

A lot of what is standard practice visually in magazines and newspapers today was pioneered by the kids working on these underground newspapers in the Sixties.

Guernica: I want to stray for a moment to talk about the visual aesthetics of the movement. In the book, Ben Morea—one of the men behind Black Mask—talks about how they treated each cover of the magazine as a piece of art. How important were visuals in attracting attention and gaining an audience?

Sean Stewart: The visuals were indispensable. They were the first point of entry for many people, and, in contrast to the linear, text-heavy layout of the straight press, the focus on graphics and rejection of standard principles of layout in the underground acted as an instant, and very potent, signifier of the differences between the two. A lot of what is standard practice visually in magazines and newspapers today was pioneered by the kids working on these underground newspapers in the Sixties. Shit, I even remember the uproar caused by the New York Times’ decision to finally include color photos back in the 1990s.

Guernica: Do you think the freedom from having to appeal to a large, mainstream audience fueled those in the underground press to try new things with layout, design, and content? Or was some other factor at play?

Sean Stewart: The underground press, at its height, was reaching millions of people worldwide, so I don’t think that having to appeal to a large, mainstream audience necessitates the creation of boring content, layout, or design. I think the sort of blandness you’re talking about was, and is, an expression of a dying culture. By that same token, I think that the underground press looked like it did because it was a reflection of a vibrant youth culture. Also, from a technical standpoint, the photo offset process by which most underground newspapers were printed allowed for a certain degree of graphic experimentation—if you were in the correct frame of mind.

Guernica: Though it’s not exclusive to youth culture, the Occupy movement shares a certain kinship with the underground press. What’s your impression of the group’s messaging and political effectiveness?

I think the establishment is asking the wrong questions. There seems to be complete signal loss. No matter how you feel about the whole thing, what can’t be denied is that millions of people feel betrayed. The people held up their end of the bargain and rightly feel that they got sold out.

Sean Stewart: I love how Twitter is being used for real-time updates at protests and marches, I love all the madness churned out over on Tumblr, all the livestreams are great, and it’s always dope to see people reading the Occupied Wall Street Journals out in the street. I love what Occuprint is doing and how they were funded through Kickstarter. And, of course, I love all the handmade cardboard signs—probably most emblematic of the spirit of the movement.

In the graphics, and in the general atmosphere at the various rallies and assemblies, I see the same sort of playfulness that was so important to the Sixties underground press and which, a hundred years ago, made the Wobblies so popular. Judy Gumbo Albert had a great little piece over at Thorne Dreyer’s Rag Blog where she breaks down the echoes of the Sixties she saw in the makeup of the crowd at the big Oakland General Strike back in November. Of course, although Occupy bears the mark of previous eras of struggle, it’s also its own thing entirely. As Judy says in the article, “history is not a straight line,” but I do think that in this case it is one that is unbroken, and one that is distinctly American.

As far as political effectiveness? Any intellectual differences I have instantly melt away once I’m surrounded by thousands of people demanding a better world. For me, the most vital part of the movement is the lack of shame—the fact that people who are surrounded by an obscene abundance, and yet have nothing, aren’t afraid to speak up.

And as far as the overall discourse, I think the establishment is asking the wrong questions. There seems to be complete signal loss. No matter how you feel about the whole thing, what can’t be denied is that millions of people feel betrayed. The people held up their end of the bargain and rightly feel that they got sold out. As I see it, the system is a game of three card monte. If you’re not the dealer, ringer, booster, or lookout, you’re probably getting conned. The problem the conmen are now facing is that the crowd is hip to the game. The key for the Occupy movement will be making sure that the ringers in the crowd aren’t speaking on their behalf as they try to redress grievances.

Guernica: In one of the book’s final chapters, “People Burn Out, and People Burned Out,” you cite the repression of the Nixon years and the increasingly splintered focus of the underground press as contributing to the movement’s eventual downfall. Even though its dominance faded, what do you view as the most important aspect of the movement’s legacy?

Sean Stewart: For me, the relatability of the era lies in the humor, irreverence, and open defiance to authority, but I think the most important legacy of the era is just the fact that regular people from all walks of life (every color, every stripe, every persuasion) stood up and demanded to be counted and to be heard. For the underground press, it started as a system of intramural communication, and grew to become the unifying institution for a counterculture made up of a wide range of affinity groups.

About a month ago I was at Spectacle Theater in Brooklyn where they were screening Roz Payne’s classic newsreel film Garbage followed by Chris Marker’s The Sixth Side of the Pentagon, which features footage of a group led by Ben Morea breaking through the doors of the Pentagon at the massive 1967 anti-war rally in Washington D.C.

Anyway, Ben Morea was there at the theater, and, at the urging of the guys running the place, he took questions from the crowd. A lot of the questions were of the “What should we do?” and, “What mistakes did you make?” variety, and Ben’s answer was basically that there is no blueprint, and that each person and each group needs to decide for itself what is to be done. He has a line at the end of the book that I think applies to the underground press and that speaks to the legacy of the Sixties youth movement in general: “That’s the lesson of the Sixties; everybody was out there. It wasn’t just the crazies, like we’ve been called. It wasn’t just us, it was everybody. It was all there, and I think that’s the key: it takes it all.”

Buy book now | Buy e-Book now | Back to Sean Stewart's Author Page




Anarchist Seeds Beneath the Snow: A Review

By Eric Laursen
George Mason University's History News Network
July 19, 2012

Eric Laursen is an independent journalist and longtime anarchist activist, writer, and organizer. He is the author of The People's Pension: The Struggle to Defend Social Security Since Reagan (AK Press, 2012) and co-author of Understanding the Crash (Soft Skull Press, 2010).

On the surface, British history during the postwar decades has been a saga of political and economic centralization. But postwar Britain has also witnessed the long-delayed flowering of a small but very influential anarchist movement. Colin Ward, perhaps the leading British anarchist thinker of the period, wrote in his remarkable 1973 book, Anarchy in Action, that "an anarchist society, a society which organizes itself without authority, is always in existence, like a seed beneath the snow, buried under the weight of the state and its bureaucracy, capitalism and its waste. . . . Once you begin to look at human society from an anarchist point of view you discover that the alternatives are already there, in the interstices of the dominant power structure. If you want to build a free society, the parts are all at hand.”

Those “seeds”—where they came from, what they blossomed into during the postwar generations—are the subject of Anarchist Seeds Beneath the Snow, David Goodway's study of British anarchism, first published in 2006 and now revised, updated, and republished, for the first time in the U.S., by PM Press. This is an important study—the first that drills deeply into Britain's idiosyncratic progression from hard-to-categorize nineteenth century socialist reformers like William Morris to major anarchist figures like Colin Ward and Stuart Christie. It doesn't pretend to be a proper history of a political movement. And it doesn't encompass, for instance, the mutually beneficial relationship between anarchy and punk-rock culture, which was, in a sense, one of the fruits of the progression he discusses.

Goodway, a UK academic, has edited collections of writings by two of his subjects, Alex Comfort and Herbert Read, and was a founder of the Oxford Anarchist Group in the early 1960s (I should also note that he is a friend and that I am thanked in the Preface to the new edition). Organized into discreet chapters on eleven writers who contributed to the development of intellectual anarchism in the UK, his book lays out a persuasive explanation why anarchism developed in the particular direction it did there. In addition, he makes a strong argument for British anarchism as one of the most influential strands in the entire anarchist tradition since the war.

What was different about British anarchism? It was never a mass working-class movement, as it was for a time in continental Europe and the United States. And while the most celebrated continental anarchist thinkers and organizers tended to come from the working class or, sometimes, from the upper classes, like the aristocrats Bakunin, Kropotkin, and Malatesta, the writers Goodway identifies as progenitors of contemporary British anarchism had largely middle-class backgrounds. They included some of the most famous British cultural figures of their day, from Oscar Wilde to Aldous Huxley to the novelist John Cowper Powys to the poet and scientist Comfort, author of the bestseller The Joy of Sex.

Not all of them explicitly identified as anarchists—Goodway uses the term “left libertarian” as an umbrella—and because they all had distinguished careers in other areas, teasing out the common threads in their thinking can be difficult. Goodway not only highlights the ideological connections between his writers, but unearths previously little-known personal ties. For example, he examines the correspondence between Powys and Emma Goldman (of which he's edited a volume), and the friendships and rivalries between George Orwell, an idiosyncratic socialist; Comfort; the poet and anarchist historian George Woodcock; and the art historian and anarcho-pacifist Herbert Read. An astonishing range of major thinkers and writers were also drawn to the politics of the British anarchists at one time or another, including Bertrand Russell, John Middleton Murry, E.P. Thompson, Rudolf Rocker, the American anarchists Dwight Macdonald and Paul Goodman, and Gene Sharp, the guru of nonviolent civil resistance. But the middle class origins of Goodway's subjects—and, perhaps, the fact that many of them were successful in more conventional ways—had a distinct impact on their anarchism. They tended to be more deeply preoccupied with individual liberty and self-expression than their continental counterparts. British anarchists also stressed the practical over the theoretica—even, at times, over explicit political action. In his 1936 book, Ends and Means, Huxley advocated a radical decentralization of economic and social life into voluntary cooperative communities, which he argued would free the people from government and the corporate structure.

As a result, Goodway considers the author of Brave New World, along with the American urban historian and critic Lewis Mumford, to be a precursor of the “new anarchism” of the postwar era, which likewise concentrated on finding practical anarchist solutions to known problems, in part by locating the conjunction between anarchism and scientific fields like biology, psychology, and alternative technologies.

If one specific wish unites all the very distinctive individuals in Goodway's book, it's for the unitary nation to dissolve, allowing regional and local cultures and identities to reassert themselves—something that can't happen so long as the state still stands over them. Yet British anarchists tended to shy away from explicit class analysis. They also tended to frown on violence and revolution, arguing instead for an evolutionary approach to a classless, non-hierarchical society.

A strong pacifist streak runs through British anarchism, stemming partly from the traumatic experience of the First World War. Comfort, not quite out of his teens, was one of Britain's most prominent pacifists and conscientious objectors during the Second World War. Afterward, he became a major figure in the UK nuclear disarmament movement, which oriented itself from the start around non-violent, mass direct action and activist self-organizing. As such, it contributed powerfully to the tradition that includes the New Left, the movement against corporate globalization, and the “Occupy” movement that erupted last year on Wall Street and around the world.

It's not altogether unfair, however, to accuse British anarchism—especially the prewar thinkers who Goodway discusses—of a tendency to evade the need to grapple directly with the state-capitalist power structure. Emma Goldman had noticed this similar in the late 1930s, when she solicited a statement in support of the Spanish anarchist cause from Huxley and he answered her with a refusal, accompanied by a disquisition on the need to decentralize industrial production—right away, presumably. (Goodway's book also includes a side-splittingly funny account of how the obstreperous Goldman was greeted by typically reserved English audiences when she lived in their country in 1936-37—a classic episode of British-American culture clash.)

The story Goodway tells is of a movement that started with the musings of a succession of highly individualistic British intellectuals who had no “native” anarchist movement to use as a reference point—just what they observed among their country's rural population and working class. Thanks in large part to Ward, Comfort, the Freedom magazine group, Anarchist Black Cross, and a few other writers and organizers including Stuart Christie and Albert Meltzer, British anarchism grew into a coherent body of thought, with the beginnings of a popular following, between the end of World War II and the mid-1970s—about the time the Sex Pistols released Anarchy in the UK, as it happens. Today, it is very much present in Occupy London – an ongoing campaign of nonviolent direct action against a crushing, state-imposed economic damp-down which Comfort would certainly have plunged into, headfirst.

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Red Crayon, Blue Crayon

By Austin Considine
New York Times
June 15, 2012

WHEN Really Big Coloring Books published a 32-page children’s book about the Tea Party in 2010, the book received a lot of unwanted attention. The Los Angeles Times called it “kiddie propaganda art;” its author and publisher, Wayne Bell, said he received death threats.

“There was even a group of guys in New York that wrote a manifesto of how they were going to come down here and put me in chloroform headlock and throw me in the back of an ice cream truck,” Mr. Bell said.

But publishing houses like Mr. Bell’s have discovered that selling political literature to children is also good business. The Tea Party coloring book sold well, generating more than $100,000, at $3.59 each, in the first thirty days, Mr. Bell said. That may explain why, despite the threats, the St. Louis company released a sequel a few weeks ago, Tea Party II, Why America Loves You! The Social-Activist Coloring Book for Kids.

Political coloring books aren’t new, nor are they limited to one side of the ideological spectrum, said Fran Walfish, a Los Angeles-based clinical psychotherapist who specializes in children and families. In the 1990s, she said, there were coloring books about changing families, addressing themes like gay parenting.

Recent years have seen a resurgence. PM Press, based in Oakland, Calif., has published coloring books like the feminist-themed Girls Are Not Chicks, and Sometimes the Spoon Runs Away With Another Spoon, which challenges gender norms. Ramsey Kanaan, the publisher, said the books teach young readers “diversity or tolerance or creative thinking.”
Like Mitt Romney bobbleheads and Hillary Clinton nutcrackers, most political coloring books are aimed at adults, like The Bush Years: Celebrating the Beginning and End of an Error, or the overtly sexist The Official Geraldine Ferraro Coloring Book: V.P. or K.P.? from the 1980s.
But the Tea Party II book is very much geared for younger minds. “Don’t be intimidated by political correctness!” one caption reads, and there are color-in drawings of conservative figures like Glenn Beck, Michele Bachmann and Herman Cain. The caption under drawings of the House minority leader Nancy Pelosi and the Senate majority leader Harry Reid reads: “These people need to improve their behavior and get better at what they do or resign.”
Mr. Bell says he’s no activist. He has also published pro-Democrat books like President Obama, a Coloring & Activity Book: Yes We Did and nonpartisan volumes like We Shall Never Forget 9/11: The Kids’ Book of Freedom. The goal of the company, he said, “is simply to make money.”

But Dr. Walfish says that children are particularly susceptible to activist messages disguised as fun drawings. Coloring books like Tea Party II, she said, could “raise a young child’s anxiety rather than provide a healthy realm for exploration.”

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West of Eden on Z Mag

by Seth Sandronsky
Z Magazine
July/August 2012

If you favor the Occupy Wall Street moment, you might also savor the personal and political flavors of communal living during the 1960s and 1970s. In West of Eden: Communes and Utopia in Northern California, thirteen contributors enlighten us about these alternate living and working arrangements.
 
Of the editorial quartet who oversaw this book, seven years in the making, two are from the city and two from the country. Iain Boal of Berkeley situates West of Eden’s four-part focus around the historic dynamics of rural and urban “communing.” His interview with the influential artist, communalist, and writer Ramón Sender helps us to understand the social context of his inspired invention to counter the mainstream culture.
 
Historian Timothy Miller opens part one, placing the trend for communes in the Golden State a half-century ago as “part of the larger emerging Zeitgeist,” with a nod to the communalism of American Indians. Their relationship to the land stands in stark contrast to the regime of private property that marks a capitalist order based on alienated labor. Michael William Doyle evaluates the San Francisco-based Diggers. In the 1960s, they made food free for all via ingenious means and foreshadowed current groups, such as Food Not Bombs.
 
Jeff Lustig, dean of California studies and a retired professor of government at Sacramento State, highlights the crucial role of common lands of UC Berkeley and San Francisco’s Golden Gate Park in nurturing communalism. Such venues partly provided people the space and time to emulate those in the Civil Rights movement where putting one’s body on the line paved the way to overturn Jim Crow segregation.
 
Jesse Drew recalls his time as a teenage runaway in “networked” communes, a modern-day Underground Railroad that sheltered the marginalized—from draft resisters to military deserters. Communards flourished in “a Badlands…that brought the euphoria of utopia and the freedom of autonomy, a tonic that showed that a new world is possible.”
 
Felicity D. Scott addresses in part two what violent measures the state took against communes’ “open lands” in places such as Sonoma County. There, authorities used bulldozers to flatten shelters of communards, attempting to live outside the capitalist system.
 
Simon Sadler connects the idealism and pragmatism of communes and the geodesic domes of Buckminster Fuller. Sadler argues that the result was a “design ethos,” which, mostly rejecting Fuller, attempted to recapture what American culture had destroyed, specifically a “respect for nature.”
 
Janferie Stone, an editor, with help from people in the Native American Program at UC Davis, recalls the occupation of Alcatraz Island in San Francisco Bay. There, Native Americans in late November 1969, recaptured their culture of self-provisioning that U.S. government intervention via boarding schools from the 1870s to 1960s tried to end.
 
Robyn C. Spencer contributes an eye-opening chapter on the practice of communalism within the Black Panther Party. Spencer’s scholarship provides detailed analysis of the BPP’s community programs and living arrangements as covert police disruption took a grim toll on members, two-thirds of whom were female.
 
Stone and co-editors Cal Winslow, in the book’s third part, “the country,” reflect on the ebbs and flows of communal living in Mendocino’s Albion Ridge. According to Winslow, the communards based there “shared no grand vision, no religion, no structures; they were not the followers of a particular leader, there were no gurus.” Reading him, you appreciate the promises and perils of these utopian living arrangements, as his interviews with participants make clear.
 
Stone gives form and shape to the dynamics of sexual politics in the communal movements of the 1960s. Two examples she examines centered on childbearing and rearing. Ray Raphael, in the final section “legacies” unpacks the contradictions of marijuana production and back-to-the- land communards in California’s back country. You might read this trend as a triumph of small businesspeople.
 
Lee Worden hits the nail on the head in his critical essay about the rise of a commercialized techno-counterculture and communal living that entrepreneurs such as Stewart Brand personified. This is a cautionary tale of individuals commoditizing social movements for the purpose of accumulating wealth.
 
Berkeley-based editor Michael Watts ties together many threads of “radical individualism” and social activism culminating in the global upsurges of 1968. What propelled such utopian experiments stateside, of course, was rebellion against an “American Dream” of consumerism, militarism, racism, and the right-wing reaction.
 
You can read in West of Eden about communal living experiments as generational spirits of today’s OWS movement for justice. I did.

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Avec Nous, Dans la Rue: Pedagogy of Mobilization, University of the Streets

Organize! by Aziz Choudry
wi: journal of mobile media

[T]he world is our classroom, a place full of ideas and possibilities, and . . . history is replete with examples of how, even duringand often as a result ofdeep-seated crisis, change is eminently possible. - David Austin, 2009 (115)

This is a discussion—one of many that will take place today—which would not be happening without the willingness of thousands of people to take to the streets, put their bodies on the line day after day, for months on end, and, at the time of this writing, with no apparent end in sight. For that, I am deeply grateful.

The student strike against tuition hikes, and the broader mobilizations in Quebec since Bill 78 (the special law against student organizing and protests, among other draconian measures) passed, highlight the importance of organizing for social change in difficult times. Longterm efforts at coordination and education by student organizers and their allies have built and sustained this major mobilization. It is now viewed internationally as a major site of resistance against the erosion of rights to education and the downloading of economic crises onto the middle and working classes for the benefit of economic and political elites.

These organization and education efforts are happening in the general assemblies in which students have been organizing the strike, debating ideas, making decisions, voting, building strategies and solidarity. They’re happening in teach-ins and other forums organized by striking students and in coalition work with other communities and movements to build connections and common fronts of struggle. They’re happening in anti-racist organizing within the student movement, challenging racism and the ongoing marginalization of many racialized students in Quebec. This mobilization and education has spread to the neighbourhood marches, casseroles, and popular assemblies springing up across Quebec.

There’s a lot happening in the streets, every day/every night—incrementally, incidentally, informally, through talking, exchanging, marching together, claiming and creating space, confronting power, building solidarities and trust—learning that could not take place in a classroom.

Critical adult education scholar John Holst (2002) writes that “there is much educational work internal to social movements, in which organizational skills, ideology, and lifestyle choices are passed from one member to the next informally through mentoring and modelling or formally through workshops, seminars, lectures, and so forth” (81). He calls this the “pedagogy of mobilization” (87).

Theorizing social movements at a level which is too far abstracted from the dynamics, particularities and contradictions on the ground has severe limitations. What’s been taking place across Quebec, in the general assemblies of CEGEP and university students and in other spaces opened up by this vibrant movement attests to the potency of “learning from the ground up” (Choudry and Kapoor, 2010). A great deal of knowledge production, learning and theorizing is taking place in this movement, often occurring under the radar of where we tend to assume learning and education to take place. As Griff Foley (1999) notes, profound forms of informal learning may often be incidental and not even recognized as such, embedded as they are in social action.

The massive numbers of arrests and violent police actions against protestors are hard to overlook. This is a movement which is in turn infantilized, criminalized, brutalized by the state and sections of the media. For many engaged in this struggle, such conflict has facilitated profound learning about state power and the limits of liberal democracy. In thinking these issues through, the insights of the sociologist and activist George Smith (2006) come to mind.

He suggests that there is a wealth of research material and signposts derived from moments of confrontation to explore the way that power in our world is socially organized. He contends that being interrogated by insiders to a ruling regime, like a crown attorney, for example, brings one into direct contact with the conceptual relevancies and organizing principles of such regimes.

School may be out for summer for many students, but those concerned with teaching and learning should perhaps consider the complementarity (and tensions) between formal academic education, and non-formal and informal learning in this struggle. As Paula Allman (2001) contends: “Our consciousness develops from our active engagement with other people, nature, and the objects or processes we produce.  In other words, it develops from the sensuous experiencing of reality from within the social relations in which we exist” (165).

In our new book, Organize! Building from the Local for Global Justice, Jill Hanley, Eric Shragge and I identify three elements that are key to effective organizing: analysis, action, and critical reflection on practice. Without romanticizing the current movement, I have no hesitation in saying that I come across each of these elements on a daily basis in my engagement with these mobilizations and student activists. The Quebec movement is a rich site of critical learning. Further, the level of engagement, sacrifice and collective struggle which many thousands of Quebec students have displayed so consistently is forcing many to re-examine their cynical view of today’s youth as individualistic and self-absorbed. We cannot predict the course and outcomes of this movement but the conscientization and politicization of a generation of students – and their courage in taking action—offers hope for the future for many people who do not see ‘business as usual’ as a viable option faced with today’s profound economic, political and ecological crises. Indeed, perhaps as historian Robin Kelley (2002) suggests . . . the most powerful, visionary dreams of a new society don’t come from little think tanks of smart people or out of the atomized, individualistic world of consumer capitalism, where raging against the status quo is simply the hip thing to do. Revolutionary dreams erupt out of political engagement; collective social movements are incubators of new knowledge (8).

References

Allman, P. Critical Education Against Global Capitalism: Karl Marx and Revolutionary Critical Education. Westport, CT: Bergin and Garvey, 2001.

Austin, D. "Education and Liberation." McGill Journal of Education 44, no. 1 (2009): 107-117.

Choudry, A., Hanley, J., and Shragge, E., eds. Organize! Building from the Local for Global Justice. Oakland.CA/Toronto.: PM Press/Between The Lines, 2012.

Choudry, A., and Kapoor, D., eds. Learning from the Ground Up: Global Perspectives on Social Movements and Knowledge Production. New York: Palgrave MacMillan, 2010.

Foley, G.  Learning in Social Action: A Contribution to Understanding Informal Education. London and New York: Zed Books, 1999.

Holst, J. D. Social Movements, Civil Society, and Radical Adult Education. Westport, CT: Bergin and Garvey, 2002.

Kelley, R. D. G. Freedom dreams: The Black Radical Imagination. Boston: Beacon Press, 2002.

Smith, G. W. "Political Activist as Ethnographer." In Sociology for Changing the World: Social Movements/Social Research, eds. C. Frampton, G. Kinsman, A.K. Thompson, and K. Tilleczek, pp. 44-70. Black Point, N.S.: Fernwood, 2006.


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