Colin Ward and the Art of Everyday Anarchy is the first full account of Ward’s life and work. Drawing on unseen archival sources, as well as oral interviews, it excavates the worlds and words of his anarchist thought, illuminating his methods and charting the legacies of his enduring influence. Colin Ward (1924–2010) was the most prominent British writer on anarchism in the 20th century. As a radical journalist, later author, he applied his distinctive anarchist principles to all aspects of community life including the built environment, education, and public policy. His thought was subtle, universal in aspiration, international in implication, but, at the same time, deeply rooted in the local and the everyday. Underlying the breadth of his interests was one simple principle: freedom was always a social activity. This book will be of interest to students, scholars, and general readers with an interest in anarchism, social movements, and the history of radical ideas in contemporary Britain.

The argument of this book is that an anarchist society, a society which organises itself without authority, is always in existence. Through a wide-ranging analysis - drawing on examples from education, urban planning, welfare, housing, the environment, the workplace, and the family, to name but a few - Colin Ward demonstrates that the roots of anarchist practice are not so alien or quixotic as they might at first seem but lie precisely in the ways that people have always tended to organise themselves when left alone to do so.

Of all political views, anarchism is the most ill-represented. For more than 30 years, in over 30 books, Colin Ward patiently explained anarchist solutions to everything from vandalism to climate change - and celebrated unofficial uses of the landscape as commons, from holiday camps to squatter communities. In Talking Anarchy he discusses the ups and downs of the anarchist movement during the last century, including the many famous characters who were anarchists or associated with the movement, including Noam Chomsky and George Orwell.

What do anarchists want? Can anarchy ever function effectively as a political force? Is anarchism more 'organized' and 'reasonable' than is currently perceived? Colin Ward explains what anarchism means and who anarchists are in this illuminating and accessible introduction to the subject.

From William Morris to Oscar Wilde to George Orwell left-libertarian thought has long been an important but neglected part of British cultural and political history. This work seeks to recover that indigenous anarchist tradition. It argues that a recovered anarchist tradition could be a touchstone for contemporary political radicals.

Although there have been a few historical accounts of the anarchist school movement, there has been no systematic work on the philosophical underpinnings of anarchist educational ideas - until now. Anarchism and Education offers a philosophical account of the neglected tradition of anarchist thought on education. Although few anarchist thinkers wrote systematically on education, this analysis is based largely on a reconstruction of the educational thought of anarchist thinkers gleaned from their various ethical, philosophical and popular writings. Primarily drawing on the work of the nineteenth century anarchist theorists such as Bakunin, Kropotkin and Proudhon, the book also covers twentieth century anarchist thinkers such as Noam Chomsky, Paul Goodman, Daniel Guerin and Colin Ward. This original work will interest philosophers of education and educationalist thinkers as well as those with a general interest in anarchism.

“The Bars represent me finding my people. We were like a tribe. Together we are strong whereas before we felt weak and ostracized.” Barred for Life is a photo documentary cataloging the legacy of Punk Rock pioneers Black Flag, through stories, interviews, and photographs of diehard fans who wear their iconic logo, The Bars, conspicuously tattooed upon their skin. Author Stewart Ebersole provides a personal narrative describing what made the existence of Punk Rock such an important facet of his and many other people’s lives, and the role that Black Flag’s actions and music played in soundtracking the ups and downs of living as cultural outsiders. “The Bars say ‘I’m not one of them,’ and it also lets the right people know that I am one of them.” Stark black-and-white portraits provide visual testimony to the thesis that Black Flag’s factual Punk-pioneering role and their hyper-distilled mythology are now more prevalent worldwide then when the band was in service. An extensive tour of North America and Western Europe documents dedicated fans bearing Bars-on-skin and other Black Flag iconography. Nearly four hundred “Barred” fans lined up, smiled/frowned for the camera, and issued their stories for the permanent record. “It is the black flag of anarchism, and that is the opposite of the white flag of surrender.” Barred for Life expands its own scope by presenting interviews with former Black Flag members and those close to the band. Interviews with alumni Dez Cadena, Ron Reyes, Kira Roessler, Keith Morris, and Chuck Dukowski, as well as photographers Glen E. Friedman and Ed Colver, and the man responsible for tattooing The Bars on more than a few Black Flag players, Rick Spellman, round out and spotlight aspects of Black Flag’s vicious live performances, forward-thinking work ethic, and indisputable reputation for acting as both champions and iconoclastic destroyers of the Punk Rock culture they helped to create. “When I see The Bars I think ‘Black Flag the band,’ but they also represent an entire movement of people that are not going to conform. They are part of a culture of people that stand up for themselves.”