This is the first critical account of the internationally renowned Mondragon cooperatives of the Basque region of Spain. The Mondragon cooperatives are seen as the leading alternative model to standard industrial organization; they are considered to be the most successful example of democratic decision making and worker ownership. However, the author argues that the vast scholarly and popular literature on Mondragon idealizes the cooperatives by falsely portraying them as apolitical institutions and by ignoring the experiences of shop floor workers. She shows how this creation of an idealized image of the cooperatives is part of a new global ideology that promotes cooperative labor-management relations in order to discredit labor unions and working-class organizations; this constitutes what she calls the "myth" of Mondragon.

This is the first critical account of the internationally renowned Mondragon cooperatives of the Basque region of Spain. The Mondragon cooperatives are seen as the leading alternative model to standard industrial organization; they are considered to be the most successful example of democratic decision making and worker ownership. However, the author argues that the vast scholarly and popular literature on Mondragon idealizes the cooperatives by falsely portraying them as apolitical institutions and by ignoring the experiences of shop floor workers. She shows how this creation of an idealized image of the cooperatives is part of a new global ideology that promotes cooperative labor-management relations in order to discredit labor unions and working-class organizations; this constitutes what she calls the "myth" of Mondragon.

Since its founding in 1956 in Spain's Basque region, the Mondragón Corporation has been a touchstone for the international cooperative movement. Its nearly three hundred companies and organizations span areas from finance to education. In its industrial sector Mondragón has had a rich experience over many years in manufacturing products as varied as furniture, kitchen equipment, machine tools, and electronic components and in printing, shipbuilding, and metal smelting. Making Mondragón is a groundbreaking look at the history of worker ownership in the Spanish cooperative. First published in 1988, it remains the best source for those looking to glean a rich body of ideas for potential adaptation and implementation elsewhere from Mondragón's long and varied experience. This second edition, published in 1991, takes into account the major structural and strategic changes that were being implemented in 1990 to allow the enterprise to compete successfully in the European common market. Mondragón has created social inventions and developed social structures and social processes that have enabled it to overcome some of the major obstacles faced by other worker cooperatives in the past. William Foote Whyte and Kathleen King Whyte describe the creation and evolution of the Mondragón cooperatives, how they have changed through decades of experience, and how they have struggled to maintain a balance between their social commitments and economic realities. The lessons of Mondragón apply most clearly to worker cooperatives and other employee-owned firms, but also extend to regional development and stimulating and supporting entrepreneurship, whatever the form of ownership.

This book, first published in 1982, summarises the history and organisation of the group of co-operatives centred in Mondragon. The study makes an in-depth analysis of its economic aspects, including employment creation and manpower planning, the raising of financial resources and planning of investments, problems of earnings differentials, and the incentives that can be derived from worker-ownership. In particular, the authors examine the operation of the self-management system and Mondragon’s production efficiently.

While some conclude from the revolutions of 1989 that socialism is dead, interest in socialism continues because of persisting problems of contemporary capitalism. In this exciting text, Michael W. Howard offers critiques of liberal, communitarian, postmodern and some Marxist perspectives in order to develop a 'left-liberal' defense of a model of self-managed market socialism that includes a basic income for all. Specific applications of his view include analyses of its implications for the global marketplace, the changing nature of workplaces, and media restructuring and ownership. This work is sure to be of interest to social scientists, public policy makers, and economists as well as to feminists, ecologists, and others concerned with how market socialism is relevant to their social issues.

Winner of the Bram Stoker Award for Best Novel In her quickly gentrifying rural lake town Jade sees recent events only her encyclopedic knowledge of horror films could have prepared her for in this latest chilling novel that “will give you nightmares. The good kind, of course” (BuzzFeed) from the Jordan Peele of horror literature, Stephen Graham Jones. “Some girls just don’t know how to die…” Shirley Jackson meets Friday the 13th in My Heart Is a Chainsaw, written by the New York Times bestselling author of The Only Good Indians Stephen Graham Jones, called “a literary master” by National Book Award winner Tananarive Due and “one of our most talented living writers” by Tommy Orange. Alma Katsu calls My Heart Is a Chainsaw “a homage to slasher films that also manages to defy and transcend genre.” On the surface is a story of murder in small-town America. But beneath is its beating heart: a biting critique of American colonialism, Indigenous displacement, and gentrification, and a heartbreaking portrait of a broken young girl who uses horror movies to cope with the horror of her own life. Jade Daniels is an angry, half-Indian outcast with an abusive father, an absent mother, and an entire town that wants nothing to do with her. She lives in her own world, a world in which protection comes from an unusual source: horror movies…especially the ones where a masked killer seeks revenge on a world that wronged them. And Jade narrates the quirky history of Proofrock as if it is one of those movies. But when blood actually starts to spill into the waters of Indian Lake, she pulls us into her dizzying, encyclopedic mind of blood and masked murderers, and predicts exactly how the plot will unfold. Yet, even as Jade drags us into her dark fever dream, a surprising and intimate portrait emerges…a portrait of the scared and traumatized little girl beneath the Jason Voorhees mask: angry, yes, but also a girl who easily cries, fiercely loves, and desperately wants a home. A girl whose feelings are too big for her body. My Heart Is a Chainsaw is her story, her homage to horror and revenge and triumph.