Escaping slavery in the Americas, maroons made miracles in the mountains, summoned new societies in the swamps, and forged new freedoms in the forests. Maroon Comix is a fire on the mountain where maroon words and images meet to tell stories together. Stories of escape and homecoming, exile and belonging. Stories that converge on the summits of the human spirit, where the most dreadful degradation is overcome by the most daring dignity. Stories of the damned who consecrate their own salvation.

Red Nation Rising is the first book ever to investigate and explain the violent dynamics of bordertowns. Bordertowns are white-dominated towns and cities that operate according to the same political and spatial logics as all other American towns and cities. The difference is that these settlements get their name from their location at the borders of current-day reservation boundaries, which separates the territory of sovereign Native nations from lands claimed by the United States. Bordertowns came into existence when the first US military forts and trading posts were strategically placed along expanding imperial frontiers to extinguish indigenous resistance and incorporate captured indigenous territories into the burgeoning nation-state. To this day, the US settler state continues to wage violence on Native life and land in these spaces out of desperation to eliminate the threat of Native presence and complete its vision of national consolidation “from sea to shining sea.” This explains why some of the most important Native-led rebellions in US history originated in bordertowns and why they are zones of ongoing confrontation between Native nations and their colonial occupier, the United States. Despite this rich and important history of political and material struggle, little has been written about bordertowns. Red Nation Rising marks the first effort to tell these entangled histories and inspire a new generation of Native freedom fighters to return to bordertowns as key front lines in the long struggle for Native liberation from US colonial control. This book is a manual for navigating the extreme violence that Native people experience in reservation bordertowns and a manifesto for indigenous liberation that builds on long traditions of Native resistance to bordertown violence.

The year is 1923. The Ku Klux Klan is at the height of its power in the US as membership swells into the millions and they expand beyond their original southern borders. As they grow, so do their targets. As they continue their campaigns of terror against African Americans, their list now includes Catholics and Jews, southern and eastern Europeans, all in the name of “white supremacy.” But they are no longer considered a terrorist organization. By adding the messages of moral decency, family values, and temperance, the Klan has slapped on a thin veneer of respectability and has become a “civic organization,” attracting ordinary citizens, law enforcement, and politicians to their particular brand of white, Anglo-Saxon, and Protestant “Americanism.” Pennsylvania enthusiastically joined that wave. That was when the Grand Dragon of Pennsylvania decided to display the Klan’s newfound power in a show of force. He chose a small town outside of Pittsburgh named after Andrew Carnegie; a small, unassuming borough full of “Catholics and Jews,” the perfect place to teach these immigrants “a lesson.” Some thirty thousand members of the Klan gathered from as far as Kentucky for “Karnegie Day.” After initiating new members, they armed themselves with torches and guns to descend upon the town to show them exactly what Americanism was all about. The Day the Klan Came to Town is a fictionalized retelling of the riot, focusing on a Sicilian immigrant, Primo Salerno. He is not a leader; he’s a man with a troubled past. He was pulled from the sulfur mines of Sicily as a teen to fight in the First World War. Afterward, he became the focus of a local fascist and was forced to emigrate to the United States. He doesn’t want to fight but feels that he may have no choice. The entire town needs him—and indeed everybody—to make a stand.

The Cry of Mother Earth: Plan of Action of the Ecosocialist International recognizes and records the history and the future of the world’s first Ecosocialist International, a chorus of grief and praise for Mother Earth, and a planetary program of revolutionary action in defense of free life. It combines two historic documents, written in a collective process of loving exchange and hope, in a land that knows liberation, the Bolivarian Republic of Venezuela. The first is an invitation—an urgent summons to come together and draft a plan of action for the salvation of ourselves and the planet. It is a wish—a seed. The second is the fruit of that seed written a year later, over the course of four days with the words of over 100 delegates from five continents. It is a compass and a cradle, a map and a manifesto, for a global revolution—a return to a way of life in unity with nature.

Drawn by South African political cartoonists the Trantraal brothers and Ashley Marais, Crossroads: I Live Where I Like is a graphic nonfiction history of women-led movements at the forefront of the struggle for land, housing, water, education, and safety in Cape Town over half a century. Drawing on over sixty life narratives, it tells the story of women who built and defended Crossroads, the only informal settlement that successfully resisted the apartheid bulldozers in Cape Town. The story follows women’s organized resistance from the peak of apartheid in the 1970s to ongoing struggles for decent shelter today. Importantly, this account was workshopped with contemporary housing activists and women’s collectives who chose the most urgent and ongoing themes they felt spoke to and clarified challenges against segregation, racism, violence, and patriarchy standing between the legacy of the colonial and apartheid past and a future of freedom still being fought for. Presenting dramatic visual representations of many personalities and moments in the daily life of this township, the book presents a thoughtful and thorough chronology, using archival newspapers, posters, photography, pamphlets, and newsletters to further illustrate the significance of the struggles at Crossroads for the rest of the city and beyond. This collaboration has produced a beautiful, captivating, accessible, forgotten, and in many ways uncomfortable history of Cape Town that has yet to be acknowledged. Crossroads: I Live Where I Like raises questions critical to the reproduction of segregation and to gender and generational dynamics of collective organizing, to ongoing anticolonial struggles and struggles for the commons, and to new approaches to social history and creative approaches to activist archives.

Between Earth and Empire focuses on the crucial position of humanity at the present moment in Earth history. We are now in the midst of the Necrocene, an epoch of death and mass extinction. Nearing the end of the long history of Empire and domination, we are faced with the choice of either continuing the path of social and ecological disintegration or initiating a new era of social and ecological regeneration. The book shows that conventional approaches to global crisis on both the right and the left have succumbed to processes of denial and disavowal, either rejecting the reality of crisis entirely or substituting ineffectual but comforting gestures and images for deep, systemic social transformation. It is argued that a large-scale social and ecological regeneration must be rooted in communities of liberation and solidarity, fostering personal and group transformation so that a culture of awakening and care can emerge. Between Earth and Empire explores examples of significant progress in this direction, including the Zapatista movement in Chiapas, the Democratic Autonomy Movement in Rojava, indigenous movements in defense of the commons, the solidarity economy movement, and efforts to create liberated base communities and affinity groups within anarchism and other radical social movements. In the end, the book presents a vision of hope for social and ecological regeneration through the rebirth of a libertarian and communitarian social imaginary, and the flourishing of a free cooperative community globally.

The Cargo Rebellion tells a true story of mutiny on the high seas in which four hundred indentured Chinese men overthrew their captor, the Connecticut businessman and slave trader Leslie Bryson, taking a stand against an exploitative global enterprise. The laborers learned that Bryson’s claimed destination of San Francisco was a lie to trick them into deadly servitude in the dreaded guano islands of Peru. Reaching a dramatic tipping point, the mutineers rose up and killed Bryson and several of the ship's officers and then attempted to sail back to China. This book's centerpiece, a deft graphic account of the rebellion in the context of the “coolie trade” and the struggle to end traffic in human “cargo,” is supported by essays that spotlight the rebellion itself, how the subject of indentured Asian workers is being taught in classrooms, and how Chinese workers shaped the evolution of American music, particularly in the making of the first drum set. The Cargo Rebellion is a history from below that does justice to the memory of hundreds of thousands of indentured workers and demonstrates how Asian migration to the Americas was rooted in slavery, colonialism, and the life-and-death struggle against servitude.