Essays by Dora Marsden (1882 - 1960) from her journal "The Egoist." Introduction, annotations, glossary and index by Trevor Blake, author of "Dora Marsden Bibliography." Read the Gospel of Power... "What a blight it is on life, to be sure, that honest speech is almost non-existent. Lo and behold, all are alike: the secret sin against the spirit of peace is universal, and can be proclaimed from the housetops. The 'poor' man is the one who lacks the power to get what he wants. If he had had the 'might, ' the 'competence' to cover the wide expanse of these 'rights, ' he would not be in the position of a beggar asking for the favour of a job from a master: he would have set about being his own master: the one thing which to this day the ordinary wage earner steadily refuses to be. 'Reformers' have tried to get a comprehensive view of the 'world's work'-which does not exist save in their own imagination-and they have come to neglect and hold lightly work viewed from its only real aspect-the personal satisfying of needs and wants as they rise up spontaneously from each varying individual. Social rebels will get no way until they acquiesce willingly in men and women being what they are: accept their oddities and wayward differences and then make the best and most of them to serve their individual ends."

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"John F. Welsh provides us with a superb distillation of the thought of Max Stirner and the dialecticalegoist paradigm he developed. Througth this brilliant study. Welsh demonstrates the power and breadth of dialectics as a radical mode of analysis and social transformation--Chris Matthew Sciabarra author of Total Freedom: Toward a Dialectical Libertarianism.

Feminism is explored by various feminists, including Charlotte Perkins Gilman, Jane Addams, Isadora Duncan, and Emma Goldman.

Most observers believe that gospel music has been sung in African-American churches since their organization in the late 1800s. Yet nothing could be further from the truth, as Michael W. Harris's history of gospel blues reveals. Tracing the rise of gospel blues as seen through the career of its founding figure, Thomas Andrew Dorsey, Harris tells the story of the most prominent person in the advent of gospel blues. Also known as "Georgia Tom," Dorsey had considerable success in the 1920s as a pianist, composer, and arranger for prominent blues singes including Ma Rainey. In the 1930s he became involved in Chicago's African-American, old-line Protestant churches, where his background in the blues greatly influenced his composing and singing. Following much controversy during the 1930s and the eventual overwhelming response that Dorsey's new form of music received, the gospel blues became a major force in African-American churches and religion. His more than 400 gospel songs and recent Grammy Award indicate that he is still today the most prolific composer/publisher in the movement. Delving into the life of the central figure of gospel blues, Harris illuminates not only the evolution of this popular musical form, but also the thought and social forces that forged the culture in which this music was shaped.

One hundred years of Max Stirner in print, beginning in 1845 with the publication of "The Ego and Its Own." Includes rare and select essays on Stirner.

"Anarchism and the Crisis of Representation is intended to provide readers of literary criticism, art history, political philosophy, and the social sciences with a fresh perspective from which to revisit dead-end theoretical debates over concepts such as "agency," "essentialism," and "realism" - and, at the same time, to offer a new take on anarchism itself, challenging conventional readings of the tradition. The anarchism that emerges from this reinterpretation is neither a musty rationalism nor a millenarian irrationalism, but a living body of thought that points beyond the sterile antinomies of post-modern and Marxist theory."--BOOK JACKET.

"Presents English translations of Max Stirner's published responses to the major critics of his best known work, Der Einzige und sein Eigenthum ("The unique and its property"), including responses to Moses Hess, Ludwig Feuerbach, Szeliga in "Recensenten Stirner's" (Stirner's critics) and to Kuno Fischer in "Die Philosophischen Reaktionaere" (The philosophical reactionaries)."--verso of title page.

Drucker skillfully traces the development of this critical position, suggesting a methodology closer to the actual practices of the early avant-garde artists based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara. Drucker explores the context for experimental typography in terms of printing, handwriting, and other practices concerned with the visual representation of language. Her book concludes with a brief look at the ways in which experimental techniques of the early avant-garde were transformed in both literary work and in applications to commercial design throughout the 1920s and early 1930s.