Comparing the radical aesthetic and social experiments undertaken by two exile intellectuals, Experiments in Exile charts a desire in their work to formulate alternative theories of citizenship, wherein common reception of popular cultural forms is linked to a potentially expanded, non-exclusive polity. By carefully analyzing the materiality of the multiply-lined, multiply voiced writing of the “undocuments” that record these social experiments and relay their prophetic descriptions of and instructions for the new social worlds they wished to forge and inhabit, however, it argues that their projects ultimately challenge rather than seek to rehabilitate normative conceptions of citizens and polities as well as authors and artworks. James and Oiticica’s experiments recall the insurgent sociality of “the motley crew” historians Peter Linebaugh and Marcus Rediker describe in The Many-Headed Hydra, their study of the trans-Atlantic, cross-gendered, multi-racial working class of the seventeenth and eighteenth centuries. Reading James’s and Oiticica’s projects against the grain of Linebaugh and Rediker’s inability to find evidence of that sociality’s persistence or futurity, it shows how James and Oiticica gravitate toward and seek to relay the ongoing renewal of dissident, dissonant social forms, which are for them always also aesthetic forms, in the barrack-yards of Port-of-Spain and the favelas of Rio de Janeiro, the assembly lines of Detroit and the streets of the New York. The formal openness and performative multiplicity that manifests itself at the place where writing and organizing converge invokes that sociality and provokes its ongoing re-invention. Their writing extends a radical, collective Afro-diasporic intellectuality, an aesthetic sociality of blackness, where blackness is understood not as the eclipse, but the ongoing transformative conservation of the motley crew’s multi-raciality. Blackness is further instantiated in the interracial and queer sexual relations, and in a new sexual metaphorics of production and reproduction, whose disruption and reconfiguration of gender structures the collaborations from which James’s and Oiticica’s undocuments emerge, orienting them towards new forms of social, aesthetic and intellectual life.

My Exile Lifestyle is a memoir made of stories from the life of author, entrepreneur, and full-time traveler, Colin Wright. From his early years as an antisocial geek, to his high-flying career in Los Angeles, to his life as a wandering vagabond, Colin holds nothing back as he talks about love, business, blogging, and culture through tales that span four continents. In the easy to digest style of storytelling that has made his other work such a success, Colin discusses life on the road and nothing is too taboo. Every epic, embarrassing, and awkward detail is covered with sometimes brutal honesty.

‘No one in this city has believed in me for two thousand years. I’m unknown and unloved. And I’m very, very ill.’ He sighed, and the sound chilled her blood. ‘Give me your hand.’ Dionysus, god of wine and divine ecstasy, is reborn in modern Rome. He doesn’t understand how or why he’s come to be here – a pagan god in a city where he has no believers. But when he meets fifteen-year-old Grace during a chance encounter in the Ghetto, he realises he has found his first new follower. This is the beginning of Grace’s secret life, as she and her friends overcome scepticism and fear to become his worshippers, drinking his wine and taking part in bacchanals across the city. As the melancholy god lives out his exile, his teenage followers find they have everything to lose. And after the first bloodshed, they know that there’s no turning back...

A magisterial history of the artists and writers who left Weimar when the Nazis came to power In 1933 thousands of intellectuals, artists, writers, militants and other opponents of the Nazi regime fled Germany. They were, in the words of Heinrich Mann, “the best of Germany,” refusing to remain citizens in this new state that legalized terror and brutality. Exiled across the world, they continued the fight against Nazism in prose, poetry, painting, architecture, film and theater. Weimar in Exile follows these lives, from the rise of national socialism to their return to a ruined homeland, retracing their stories, struggles, setbacks and rare victories. The dignity in exile of Walter Benjamin, Ernst Bloch, Bertolt Brecht, Alfred Döblin, Hanns Eisler, Heinrich Mann, Thomas Mann, Anna Seghers, Ernst Toller, Stefan Zweig and many others provides a counterpoint to the story of Germany under the Nazis.

The role of Evangelical Christianity in American public life is controversial. The mythology of America as a "Christian nation" and the promissory note of secularism have proved inadequate to cope with the increasing pluralism, the resilience of spirituality, and the wariness toward formal religion that mark our post-secular age. Christianity and democracy have a complex history together, but is there a future where these two great traditions draw the best out of one another? What does that future look like in a heterogeneous society? Sanders argues that democracy is stronger when it allows all of its religious citizens to participate fully in the public sphere, and Christianity is richer when it demonstrates the wisdom of God from the ground up, rather than legislating it from the top down. In this reality, the Evangelical church must return to Christianity's prophetic roots and see itself as a "community in exile," where participation in the political is important, but not ultimate--where the substantive work of the church happens "after the election."