Art, Politics and the Pamphleteer brings together a collection of text-based and visual essays, commissioned artworks and graphics. This richly illustrated book responds to the concept, aesthetics and function of the political pamphlet. It is diverse in content, interpreting the 'pamphlet' in the broadest terms, and encompassing a number of case studies that offer historical or specific examples of contemporary pamphleteering practice that can be seen to perform 'a clear political implication' or protest. Besides exploring the radical history and diverse cultures of the pamphlet, it also celebrates the rich visual rhetoric, typography and contemporary relevance of the format for both artists and activists. Contributions include an historical overview and essays by: Andy Abbott, Angeliki Avgitidu, Aziz Choudry and Désirée Rochat, David Murrieta Flores, Michelle Kempson, Pil and Galia Kollectiv, Rachel Schreiber, Jane Tormey, Gillian Whiteley; visual contributions by Gary Anderson and Steven Shakespeare, Ruth Beale, Ami Clarke, Common Culture, Jeremy Deller, Freee, Patrick Goddard, Gavin Grindon, Ferenc Grof, Marc Herbst, Joanne Lee, Josh MacPhee, Manual Labours, Mark McGowan, Minute Works, Chris Morton, radicalreThink, Hester Reeve, Oliver Ressler, Greg Sholette & Christopher Darling, Laura Wild, Andrew Wilson. As the book was conceived as predominantly visual from the outset, the book concept has been a collaboration with The Little Riot Press (Phil Eastwood and Chris Dunne). Overall, an aesthetic of protest and propaganda was considered integral to the design to reiterate the generally handmade, analogue techniques found in political pamphlets. The Little Riot Press have thus approached the illustration and overall visual cohesion from the perspective of the radical artist pamphleteer. www.thelittleriotpress.com

Chronicles the life of the master writer, offering insight into his involvement in the politics and religion of his era, and covering such topics as his writings against King Charles, his troubled relationships, and the impact of the Restoration on his survival.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

An inspiring case for practicing civil disobedience as a way of life, and a clear vision for a better world—full of play, caring, and human connection. In an era of peak global suffering and uncertainty, there has never been a more opportune time to re-think and re-build our entire social order. And it has never been more clear that our politicians and authorities will not be up to the task . . . only we can create the world we actually want to live in. And we can do it now. In Living in a World that Can’t Be Fixed, Curtis White argues that the only way to save the planet, bypass social antagonisms, and build communities that actually work for us is through a strong and vital counterculture. He shows us the legacy and effectiveness of countercultural movements that existed long before the storied 1960s and imagines the similar sweeping changes we could make today—including where we live, how we work, what we eat, and the media we consume. White—”the most inspiringly wicked social critic of the moment” (Will Blythe, Elle)—reveals how the products of our current so-called resistance, from Ken Burns to Black Panther, rarely offer a meaningful challenge to power, and how our loyalty to the “American Lifestyle” is self-defeating and keeps us from making any real social change. The world has been turned upside down, but thankfully we now have a guide for righting it on our terms.

This study restores Defoe's writings and ideas to their seventeenth-century context.

Contemporary craft, art and design are inseparable from the flows of production and consumption under global capitalism. The New Politics of the Handmade features twenty-three voices who critically rethink the handmade in this dramatically shifting economy. The authors examine craft within the conditions of extreme material and economic disparity; a renewed focus on labour and materiality in contemporary art and museums; the political dimensions of craftivism, neoliberalism, and state power; efforts toward urban renewal and sustainability; the use of digital technologies; and craft's connections to race, cultural identity and sovereignty in texts that criss-cross five continents. They claim contemporary craft as a dynamic critical position for understanding the most immediate political and aesthetic issues of our time.