annual pagan pilgrimage with all its traditional rites into the new religion, is identified as a key moment in world history, in that it released the new faith from confinement in Medina and allowed it to spread within Arabia and beyond. --

When independent filmmakers, activists, and amateurs document the struggle for rights, representation, and revolution, they instrumentalize images by advocating for a particular outcome. Ryan Watson calls this "militant evidence." In Radical Documentary and Global Crises, Watson centers the discussion on extreme conflict, such as the Iraq War, the occupation of Palestine, the war in Syria, mass incarceration in the United States, and child soldier conscription in the Congo. Under these conditions, artists and activists aspire to document, archive, witness, and testify. The result is a set of practices that turn documentary media toward a commitment to feature and privilege the media made by the people living through the terror. This footage is then combined with new digitally archived images, stories, and testimonials to impact specific social and political situations. Radical Documentary and Global Crises re-orients definitions of what a documentary is, how it functions, how it circulates, and how its effect is measured, arguing that militant evidence has the power to expose, to amass, and to adjudicate.

The theory of Permanent Revolution has been associated with Leon Trotsky for more than a century since the first Russian Revolution in 1905. Trotsky was the most brilliant proponent of Permanent Revolution but by no means its sole author. The documents in this volume, most of them translated into English for the first time, demonstrate that Trotsky was one of several participants in a debate from 1903-7 that involved numerous leading figures of Russian and European Marxism, including Karl Kautsky, Rosa Luxemburg, Franz Mehring, Parvus and David Ryazanov. This volume reassembles that debate, assesses it with reference to Marx and Engels, and provides new evidence for interpreting the formative years of Russian revolutionary Marxism.

Considers the question: what does it mean to be Muslim and American? In Islam Is a Foreign Country, Zareena Grewal explores some of the most pressing debates about and among American Muslims: what does it mean to be Muslim and American? Who has the authority to speak for Islam and to lead the stunningly diverse population of American Muslims? Do their ties to the larger Muslim world undermine their efforts to make Islam an American religion? Offering rich insights into these questions and more, Grewal follows the journeys of American Muslim youth who travel in global, underground Islamic networks. Devoutly religious and often politically disaffected, these young men and women are in search of a home for themselves and their tradition. Through their stories, Grewal captures the multiple directions of the global flows of people, practices, and ideas that connect U.S. mosques to the Muslim world. By examining the tension between American Muslims’ ambivalence toward the American mainstream and their desire to enter it, Grewal puts contemporary debates about Islam in the context of a long history of American racial and religious exclusions. Probing the competing obligations of American Muslims to the nation and to the umma (the global community of Muslim believers), Islam is a Foreign Country investigates the meaning of American citizenship and the place of Islam in a global age.

For four bloody years, the Civil War ravaged America. Those at home could only imagine the sights and events overtaking their husbands and sons, fathers and brothers who were under arms. Frank Leslie's Illustrated Newspaper was a primary source of information during those dark days. The reporters and artists who traveled with the armies were eyewitnesses to events, great and small, for their captivated readers. Sometimes the news was sensational. At other times it was tragic. But it was always eagerly sought after. Here are the accounts, in pictures and stories, of those first wartime journalists. Here are their reports from the front lines. Here is the Civil War's news as originally presented to loved ones at home. Here you will find images of the battles, the leaders, the camp life, and of the soldiers who gave their all for North and South. In your hands you hold the testimony of those who were Witness to the Civil War.

“A masterpiece” (The Guardian) from the Nobel Prize–winning writer, an oral history of children’s experiences in World War II across Russia NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE WASHINGTON POST For more than three decades, Svetlana Alexievich has been the memory and conscience of the twentieth century. When the Swedish Academy awarded her the Nobel Prize, it cited her for inventing “a new kind of literary genre,” describing her work as “a history of emotions . . . a history of the soul.” Bringing together dozens of voices in her distinctive style, Last Witnesses is Alexievich’s collection of the memories of those who were children during World War II. They had sometimes been soldiers as well as witnesses, and their generation grew up with the trauma of the war deeply embedded—a trauma that would change the course of the Russian nation. Collectively, this symphony of children’s stories, filled with the everyday details of life in combat, reveals an altogether unprecedented view of the war. Alexievich gives voice to those whose memories have been lost in the official narratives, uncovering a powerful, hidden history from the personal and private experiences of individuals. Translated by the renowned Richard Pevear and Larissa Volokhonsky, Last Witnesses is a powerful and poignant account of the central conflict of the twentieth century, a kaleidoscopic portrait of the human side of war. Praise for Last Witnesses “There is a special sort of clear-eyed humility to [Alexievich’s] reporting.”—The Guardian “A bracing reminder of the enduring power of the written word to testify to pain like no other medium. . . . Children survive, they grow up, and they do not forget. They are the first and last witnesses.”—The New Republic “A profound triumph.”—The Big Issue “[Alexievich] excavates and briefly gives prominence to demolished lives and eradicated communities. . . . It is impossible not to turn the page, impossible not to wonder whom we next might meet, impossible not to think differently about children caught in conflict.”—The Washington Post