In this ambitious work, first published in 1983, Cedric Robinson demonstrates that efforts to understand black people's history of resistance solely through the prism of Marxist theory are incomplete and inaccurate. Marxist analyses tend to presuppose European models of history and experience that downplay the significance of black people and black communities as agents of change and resistance. Black radicalism must be linked to the traditions of Africa and the unique experiences of blacks on western continents, Robinson argues, and any analyses of African American history need to acknowledge this. To illustrate his argument, Robinson traces the emergence of Marxist ideology in Europe, the resistance by blacks in historically oppressive environments, and the influence of both of these traditions on such important twentieth-century black radical thinkers as W. E. B. Du Bois, C. L. R. James, and Richard Wright.

Against the backdrop of America's escalating urban rebellions in the 1960s, an unexpected cohort of New York radicals unleashed a series of urban guerrilla actions against the city's racist policies and contempt for the poor. Their dramatic flair, uncompromising socialist vision for a new society, skillful ability to link local problems to international crises, and uncompromising vision for a new society riveted the media, alarmed New York's political class, and challenged nationwide perceptions of civil rights and black power protest. The group called itself the Young Lords. Utilizing oral histories, archival records, and an enormous cache of police surveillance files released only after a decade-long Freedom of Information Law request and subsequent court battle, Johanna Fernandez has written the definitive account of the Young Lords, from their roots as a Chicago street gang to their rise and fall as a political organization in New York. Led by poor and working-class Puerto Rican youth, and consciously fashioned after the Black Panther Party, the Young Lords occupied a hospital, blocked traffic with uncollected garbage, took over a church, tested children for lead poisoning, defended prisoners, fought the military police, and fed breakfast to poor children. Their imaginative, irreverent protests and media conscious tactics won reforms, popularized socialism in the United States and exposed U.S. mainland audiences to the country's quiet imperial project in Puerto Rico. Fernandez challenges what we think we know about the sixties. She shows that movement organizers were concerned with finding solutions to problems as pedestrian as garbage collection and the removal of lead paint from tenement walls; gentrification; lack of access to medical care; childcare for working mothers; and the warehousing of people who could not be employed in deindustrialized cities. The Young Lords' politics and preoccupations, especially those concerning the rise of permanent unemployment foretold the end of the American Dream. In riveting style, Fernandez demonstrates how the Young Lords redefined the character of protest, the color of politics, and the cadence of popular urban culture in the age of great dreams.

From the hunter-gatherers two million years ago to the ancient empires of Persia and China, and from the Russian Revolution to modern imperialism, humans have always struggled to create a better society than what came before. All over the world at numerous points in the past, a different way of life has become an absolute necessity, over and over again. This is a history of the humans in these struggles--the hominid and the hunter, the emperor and the slave, the dictator and the revolutionary. Reading against the grain of mainstream histories, Neil Faulkner reveals that what happened in the past has never been predetermined. From antiquity to feudalism, and from fascism to our precarious political present, choices have always been numerous and complex, and the possible outcomes have ranged broadly between liberation and barbarism. Rejecting the top-down approach of conventional history, Faulkner contends that it is the mass action of ordinary people that drives the transformative events of our many histories. This is a history of power, abuse, and greed, but also one of liberation, progress, and solidarity. In our fraught political present--as we face the loss of civil liberties and environmental protections, the rise of ethnonationalism, and the looming threat of nuclear war--we need the perspective of these histories now more than ever. The lesson of A Radical History of the World is that, if we created our past, we can also create a better future.

In December 2005, following a series of convulsive upheavals that saw the overthrow of two presidents in three years, Bolivian peasant leader Evo Morales became the first Indian president in South American history. Consequently, according to S. Sándor John, Bolivia symbolizes new shifts in Latin America, pushed by radical social movements of the poor, the dispossessed, and indigenous people once crossed off the maps of "official" history. But, as John explains, Bolivian radicalism has a distinctive genealogy that does not fit into ready-made patterns of the Latin American left. According to its author, this book grew out of a desire to answer nagging questions about this unusual place. Why was Bolivia home to the most persistent and heroically combative labor movement in the Western Hemisphere? Why did this movement take root so deeply and so stubbornly? What does the distinctive radical tradition of Trotskyism in Bolivia tell us about the past fifty years there, and what about the explosive developments of more recent years? To answer these questions, John clearly and carefully pieces together a fragmented past to show a part of Latin American radical history that has been overlooked for far too long. Based on years of research in archives and extensive interviews with labor, peasant, and student activists—as well as Chaco War veterans and prominent political figures—the book brings together political, social, and cultural history, linking the origins of Bolivian radicalism to events unfolding today in the country that calls itself "the heart of South America."

Radicalism is as American as apple pie. One can scarcely imagine what American society would look like without the abolitionists, feminists, socialists, union organizers, civil-rights workers, gay and lesbian activists, and environmentalists who have fought stubbornly to breathe life into the promises of freedom and equality that lie at the heart of American democracy. The first anthology of its kind, The Radical Reader brings together more than 200 primary documents in a comprehensive collection of the writings of America's native radical tradition. Spanning the time from the colonial period to the twenty-first century, the documents have been drawn from a wealth of sources—speeches, manifestos, newspaper editorials, literature, pamphlets, and private letters. From Thomas Paine's “Common Sense” to Kate Millett's “Sexual Politics,” these are the documents that sparked, guided, and distilled the most influential movements in American history. Brief introductory essays by the editors provide a rich biographical and historical context for each selection included.

In Radical Traditions, author Andrew Clay McGraw shows how music kontemporer embodies the tensions between culture as represented and lived. Through a highly interdisciplinary approach this book presents an all-encompassing social and musical history of musik kontemporer.

This book takes a fresh look at the progressive interventions of writers in the nineteenth century. From Cobbett to Dickens and George Eliot, and including a host of lesser known figures – popular novelists, poets, journalists, political activists – writers shared a commitment to exploring the potential of literature as a medium in which to imagine new and better worlds. The essays in this volume ask how we should understand these interventions and what are their legacies in the twentieth and twenty first centuries? Inspired by the work of the radical literary scholar, the late Sally Ledger, this volume provides a commentary on the political traditions that underpin the literature of this complex period, and examines the interpretive methods that are needed to understand them. This timely book contributes to our appreciation of the radical traditions that underpin our literary past.

Gabriel Rockhill opens new space for rethinking the relationship between art and politics. Rather than understanding the two spheres as separated by an insurmountable divide or linked by a privileged bridge, Rockhill demonstrates that art and politics are not fixed entities with a singular relation but rather dynamically negotiated, sociohistorical practices with shifting and imprecise borders. Radical History and the Politics of Art proposes a significant departure from extant debates on what is commonly called "art" and "politics," and the result is an impressive foray into the force field of history, in which cultural practices are meticulously analyzed in their social and temporal dynamism without assuming a conceptual unity behind them. Rockhill thereby develops an alternative logic of history and historical change, as well as a novel account of social practices and a multidimensional theory of agency. Engaging with a diverse array of intellectual, artistic, and political constellations, this tour de force diligently maps the various interactions between different dimensions of aesthetic and political practices as they intertwine and sometimes merge in precise fields of struggle.

This extraordinary book offers nothing less than a new vision of medical care. Rudolph Ballentine, M.D., has created a unique, integrative blending of the primary holistic schools of healing that is far more potent than any one of these alone. Like Deepak Chopra and Andrew Weil, Rudolph Ballentine is a medical doctor who became intrigued by the workings of mind-body medicine and looked beyond the West in his search for understanding. Drawing on thirty years of medical study and practice, Dr. Ballentine has accomplished a singular feat: integrating the wisdom of the great traditional healing systems--especially Ayurveda, homeopathy, Traditional Chinese Medicine, European and Native American herbology, nutrition, psychotherapy, and bodywork. Melded together, the profound principles buried in these systems become clearer and stronger, and a new level of effectiveness becomes possible. Healing and reorganization are accelerated and deepened--physically, emotionally, and spiritually. The result is transformation. The result is radical healing. Radical Healing harnesses nature's medicinals--plants and other natural substances--with commonsense essentials such as diet, exercise, and cleansing, as well as the most profound principles of spiritual and psychological transformation. In Dr. Ballentine's synthesis, illness is an opportunity for growth that can go far beyond recovery. Through radical healing old habits and attitudes that supported the development of disease fall away, to be replaced by the clarity that comes with a whole new way of being in the world.

Investigates the connections between jazz, sexual identity, and radical black politics In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. In the Break is an extended riff on “The Burton Greene Affair,” exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance—culture, politics, sexuality, identity, and blackness itself—is improvisation. For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten’s concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other. Stylistically brilliant and challenging, much like the music he writes about, Moten’s wide-ranging discussion embraces a variety of disciplines—semiotics, deconstruction, genre theory, social history, and psychoanalysis—to understand the politicized sexuality, particularly homoeroticism, underpinning black radicalism. In the Break is the inaugural volume in Moten’s ambitious intellectual project-to establish an aesthetic genealogy of the black radical tradition