This biography charts the life and fascinating long militant career of the French anarchist journalist, editor, theorist, writer, campaigner and educator Jean Grave (1854-1939), from the run up to the 1871 Paris Commune to the eve of the Second World War. Through Grave, it explores the history of the French and international anarchist communist movement over seven decades: its “heroic period” (1880-1890s), shaken by terrorist violence and intense repression, the emergence of syndicalism, national and international solidarity campaigns, the divisions over the First World War, and post-war division and relegation. Through Grave, a “sedentary transnationalist,” the study investigates the networked and transnational organisation of the anarchist movement, addressing the paradox of Grave’s international influence alongside his deep rootedness in Paris by emphasizing the movement’s global print culture and staggering circulations.

This book is a case study of intellectuals in the Mexican Revolution, with specific reference to four men from San Luis Potosi, known in Mexico as "the cradle of the Revolution." These four men--engineer Camilo Arriaga, journalist Juan Sarabia, school teacher Librado Rivera, and student and lawyer Antonio Diaz Soto y Gama--played leadership roles in the "Precursor Movement," commonly defined as all political precedents of the Revolution of 1910-1917, including the manifestoes, strikes, and armed uprisings dating from these men's founding of San Luis Potosi's Club Liberal "Ponciano Arriaga" in 1900 to th outbreak of the Revolution in 1910.

State and Revolution is an indispensable guide to confronting the political and bureaucratic structures that protect the power and position of the world's elites and suffocate the lives of the vast majority of humanity. It has been considered essential reading for generation after generation of revolutionaries, and this fully annotated edition offers an essential guide to contemporary activists trying to work through and adapt its conclusions to our present conditions. ——— Much of Valdimir Ilyich Lenin's most famous—and most misunderstood—book was written in July of 1917 while its author was on the run and plagued by fears that the revolution would be swallowed by the forces of reaction waging a war to restore Russia's Tsar. By 1918, when this small 'notebook on Marxism and the State' was first published, the autocracy was no more, and the centuries old apparatus of repression it had used to sustain its rule had been smashed to bits by the collective power of Russia's working class and peasantry. In part because it was forged in the crucible of revolutionary foment, and in part because the state continues to be the guardian of the same inhumane systems of exploitation and oppression that Lenin thundered against, State and Revolution has offered inspiration and invaluable lessons to anti-capitalists the world over. But this small book was very much a product of its time, written for a specific context with a focus on certain questions over others. Because of this, any contemporary reader attempting to absorb State and Revolution's numerous lessons without a guide travels a perilous road. This new edition from Haymarket Books features an extensive introduction, hundreds of explanatory annotations, and an invaluable glossary of key figures and terms by Todd Chretien, all of which help place Lenin's work in its historical context. Chretien deftly offers an accessible account of the most important people, parties, and debates within the socialist movement of Lenin's time, and provides a map to navigating the book's most controversial points.

Includes entries for maps and atlases.

The years before World War I were a time of social and political ferment in Europe, which profoundly affected the art world. A major center of this creative tumult was Paris, where many avant-garde artists sought to transform modern art through their engagement with radical politics. In this provocative study of art and anarchism in prewar France, Patricia Leighten argues that anarchist aesthetics and a related politics of form played crucial roles in the development of modern art, only to be suppressed by war fever and then forgotten. Leighten examines the circle of artists—Pablo Picasso, Juan Gris, František Kupka, Maurice de Vlaminck, Kees Van Dongen, and others—for whom anarchist politics drove the idea of avant-garde art, exploring how their aesthetic choices negotiated the myriad artistic languages operating in the decade before World War I. Whether they worked on large-scale salon paintings, political cartoons, or avant-garde abstractions, these artists, she shows, were preoccupied with social criticism. Each sought an appropriate subject, medium, style, and audience based on different conceptions of how art influences society—and their choices constantly shifted as they responded to the dilemmas posed by contradictory anarchist ideas. According to anarchist theorists, art should expose the follies and iniquities of the present to the masses, but it should also be the untrammeled expression of the emancipated individual and open a path to a new social order. Revealing how these ideas generated some of modernism’s most telling contradictions among the prewar Parisian avant-garde, The Liberation of Painting restores revolutionary activism to the broader history of modern art.