In The Impasse of the Latin American Left, Franck Gaudichaud, Massimo Modonesi, and Jeffery R. Webber explore the region’s Pink Tide as a political, economic, and cultural phenomenon. At the turn of the twenty-first century, Latin American politics experienced an upsurge in progressive movements, as popular uprisings for land and autonomy led to the election of left and center-left governments across Latin America. These progressive parties institutionalized social movements and established forms of state capitalism that sought to redistribute resources and challenge neoliberalism. Yet, as the authors demonstrate, these governments failed to transform the underlying class structures of their societies or challenge the imperial strategies of the United States and China. Now, as the Pink Tide has largely receded, the authors offer a portrait of this watershed period in Latin American history in order to evaluate the successes and failures of the left and to offer a clear-eyed account of the conditions that allowed for a right-wing resurgence.

The first collection of critical essays to focus specifically on the fiction produced by American novelists of the Depression era, The Novel and the American Left contributes substantially to the newly emerging emphasis on twentieth-century American literary radicalism. Recent studies have recovered this body of work and redefined in historical and theoretical terms its vibrant contribution to American letters. Casey consolidates and expands this field of study by providing a more specific consideration of individual novels and novelists, many of which are reaching new contemporary audiences through reprints. The Novel and the American Left focuses exclusively on left-leaning fiction of the Depression era, lending visibility and increased critical validity to these works and showing the various ways in which they contributed not only to theorizations of the Left but also to debates about the content and form of American fiction. In theoretical terms, the collection as a whole contributes to the larger reconceptualization of American modernity currently under way. More pragmatically, individual essays suggest specific authors, texts, and approaches to teachers and scholars seeking to broaden and/or complicate more traditional “American modernism” syllabi and research agendas. The selected essays take up, among others, such “hard-core"” leftist writers as Mike Gold and Myra Page, who were associated with the Communist Party; the popular novels of James M. Cain and Kenneth Fearing, whose works were made into successful films; and critically acclaimed but nonetheless “lost” novelists such as Josephine Johnson, whose Now in November (Pulitzer Prize, 1936) anticipates and complicates the more popular agrarian mythos of Steinbeck’s The Grapes of Wrath. This volume will be of interest not only to literary specialists but also to historians, social scientists, and those interested in American cultural studies.

“Fascists,” “Brownshirts,” “jackbooted stormtroopers”—such are the insults typically hurled at conservatives by their liberal opponents. Calling someone a fascist is the fastest way to shut them up, defining their views as beyond the political pale. But who are the real fascists in our midst? Liberal Fascism offers a startling new perspective on the theories and practices that define fascist politics. Replacing conveniently manufactured myths with surprising and enlightening research, Jonah Goldberg reminds us that the original fascists were really on the left, and that liberals from Woodrow Wilson to FDR to Hillary Clinton have advocated policies and principles remarkably similar to those of Hitler's National Socialism and Mussolini's Fascism. Contrary to what most people think, the Nazis were ardent socialists (hence the term “National socialism”). They believed in free health care and guaranteed jobs. They confiscated inherited wealth and spent vast sums on public education. They purged the church from public policy, promoted a new form of pagan spirituality, and inserted the authority of the state into every nook and cranny of daily life. The Nazis declared war on smoking, supported abortion, euthanasia, and gun control. They loathed the free market, provided generous pensions for the elderly, and maintained a strict racial quota system in their universities—where campus speech codes were all the rage. The Nazis led the world in organic farming and alternative medicine. Hitler was a strict vegetarian, and Himmler was an animal rights activist. Do these striking parallels mean that today’s liberals are genocidal maniacs, intent on conquering the world and imposing a new racial order? Not at all. Yet it is hard to deny that modern progressivism and classical fascism shared the same intellectual roots. We often forget, for example, that Mussolini and Hitler had many admirers in the United States. W.E.B. Du Bois was inspired by Hitler's Germany, and Irving Berlin praised Mussolini in song. Many fascist tenets were espoused by American progressives like John Dewey and Woodrow Wilson, and FDR incorporated fascist policies in the New Deal. Fascism was an international movement that appeared in different forms in different countries, depending on the vagaries of national culture and temperament. In Germany, fascism appeared as genocidal racist nationalism. In America, it took a “friendlier,” more liberal form. The modern heirs of this “friendly fascist” tradition include the New York Times, the Democratic Party, the Ivy League professoriate, and the liberals of Hollywood. The quintessential Liberal Fascist isn't an SS storm trooper; it is a female grade school teacher with an education degree from Brown or Swarthmore. These assertions may sound strange to modern ears, but that is because we have forgotten what fascism is. In this angry, funny, smart, contentious book, Jonah Goldberg turns our preconceptions inside out and shows us the true meaning of Liberal Fascism.

HOW THE FIRST MAJOR LEFTWING GENERATION SINCE THE SIXTIES HAS SHAPED ELECTORAL POLITICS The mushrooming rolls of the Democratic Socialists of America, Marxist explainers in Teen Vogue, and the outsized impact of the youngest woman ever elected to Congress, Alexandria Ocasio-Cortez, all herald a new, youth-inflected radical politics. The Rise of a New Left gets behind the headlines about AOC and her cohort of elected officials to tell the stories of the young organizers who created the Squad and the new social movements that have roiled US politics, from the DSA to the Sunrise Movement to Justice Democrats. Ranging across the country to describe grassroots organizing in places like rural Pennsylvania, upstate New York, Kentucky, Florida, and California, this book examines the panoply of strategies and struggles of activists working in—and trying to transform—electoral politics and the climate justice, racial justice, and labor movements. Alongside Ocasio-Cortez, we hear from the even younger Alexandra Rojas, one of the strategists who guided her political insurgency. Propelled by scores of immersive and absorbing conversations on political strategy with young activists determined to reshape the country, this book—by a writer who is herself a member of this generational movement—is a riveting account of a resurgent left.

Adam Gordon is a brilliant, if highly unreliable, young American poet on a prestigious fellowship in Madrid, struggling to establish his sense of self and his relationship to art. What is actual when our experiences are mediated by language, technology, medication, and the arts? Is poetry an essential art form, or merely a screen for the reader's projections? Instead of following the dictates of his fellowship, Adam's "research" becomes a meditation on the possibility of the genuine in the arts and beyond: are his relationships with the people he meets in Spain as fraudulent as he fears his poems are? A witness to the 2004 Madrid train bombings and their aftermath, does he participate in historic events or merely watch them pass him by? In prose that veers between the comic and tragic, the self-contemptuous and the inspired, Leaving the Atocha Station is a portrait of the artist as a young man in an age of Google searches, pharmaceuticals, and spectacle. Born in Topeka, Kansas, in 1979, Ben Lerner is the author of three books of poetry The Lichtenberg Figures, Angle of Yaw, and Mean Free Path. He has been a finalist for the National Book Award and the Northern California Book Award, a Fulbright Scholar in Spain, and the recipient of a 2010-2011 Howard Foundation Fellowship. In 2011 he became the first American to win the Preis der Stadt Münster für Internationale Poesie. Leaving the Atocha Station is his first novel.

“If Chaucer were a Texan writing today . . . this is how he would have written and this is how he would have felt.”— New York Times In Leaving Cheyenne (1963), which anticipates Lonesome Dove more than any other early novel, the stark realities of the American West play out in a mesmerizing love triangle. Stubborn rancher Gideon Fry, resilient Molly Taylor, and awkward ranch hand Johnny McCloud struggle with love and jealousy as the years pass.

*Updated edition with a new foreword on the Trump administration's trade policy* The vast benefits promised by the supporters of globalization, and by their own government, have never materialized for many Americans. In Failure to Adjust Edward Alden provides a compelling history of the last four decades of US economic and trade policies that have left too many Americans unable to adapt to or compete in the current global marketplace. He tells the story of what went wrong and how to correct the course. Originally published on the eve of the 2016 presidential election, Alden’s book captured the zeitgeist that would propel Donald J. Trump to the presidency. In a new introduction to the paperback edition, Alden addresses the economic challenges now facing the Trump administration, and warns that economic disruption will continue to be among the most pressing issues facing the United States. If the failure to adjust continues, Alden predicts, the political disruptions of the future will be larger still.

One of America's foremost philosophers challenges the lost generation of the American Left to understand the role it might play in the great tradition of democratic intellectual labor that started with writers such as Walt Whitman and John Dewey.

In The Left Side of History Kristen Ghodsee tells the stories of partisans fighting behind the lines in Nazi-allied Bulgaria during World War II: British officer Frank Thompson, brother of the great historian E.P. Thompson, and fourteen-year-old Elena Lagadinova, the youngest female member of the armed anti-fascist resistance. But these people were not merely anti-fascist; they were pro-communist, idealists moved by their socialist principles to fight and sometimes die for a cause they believed to be right. Victory brought forty years of communist dictatorship followed by unbridled capitalism after the fall of the Berlin Wall in 1989. Today in democratic Eastern Europe there is ever-increasing despair, disenchantment with the post-communist present, and growing nostalgia for the communist past. These phenomena are difficult to understand in the West, where “communism” is a dirty word that is quickly equated with Stalin and Soviet labor camps. By starting with the stories of people like Thompson and Lagadinova, Ghodsee provides a more nuanced understanding of how communist ideals could inspire ordinary people to make extraordinary sacrifices.

A haunting novel of uncommon emotional power, Why She Left Us weaves in and out of the personal tragedies and political persecution of three generations of a Japanese American family and exposes the complex, often destructive bonds of love and honor that tie a family together.