Full list of texts

Most public health concerns are ultimately local. Mutual aid projects and autonomous zones from New York City to Seattle, and from Chiapas and Rojava have shown how democratically controlled, non-hierarchical communities provide not only food and shelter but also health education, training and tools for people to care for themselves and their communities, families and comrades.

...

is áille ná bratacha an domhain é ...

an níochán

ar an líne

.

more beautiful

than the flags of all nations ...

washing on the line

A haiku in Irish and English by Gabriel Rosenstock (Ireland) with artwork by Masood Hussain (Kashmir) whose first book together, Walk with Gandhi, commemorates the 150^th anniversary of the Mahatma’s birth. More bilingual haiku posters from them are available at

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As a consequence of the coronavirus pandemic, there is renewed interest in Albert Camus’ 1947 novel, The Plague. While providing a fictional confrontation with a life-threatening infectious disease, the novel also reflects Camus’ perspectives on solidarity. Those expressions of solidarity convey meanings that have resonance for our present situation in relation to Covid-19.

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We are in mass society’s Age of Pandemics. At this stage of civilization nothing is stable or secure. The Age of Pandemics is also the Age of Extinction, as in no longer existing.

Death as an existential, ontological matter.

Nursing homes, prisons, meat packing factories—where humans and other animals are warehoused under the sign of Death. Meanwhile, life continues at the extremes of representation, the time of the virtual spectacle. Digital validation is the norm in hypermodernity. What exists is what is on the screen, displayed on the display screen and not elsewhere.

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“Sridevi and her relatives collected nine types of Dioscorea tubers; some extended deep underground. The ease and flow of the work, and the general lack of rules governing the way spouses cooperated in doing this job, struck me.”

—Nurit Bird-David, Us, Relatives: Scaling and Plural Life in a Forager World

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As the Covid-19 epidemic spread through the world at the beginning of 2020, the governments of many countries, including Greece, enacted emergency quarantine and stringent lock-down measures. There was a fear among social activists that collective action would be stifled.

Nonetheless, collective action emerged in Greece, mainly on two fronts. There was a mobilization of health workers against the government’s inadequate funding of public health care, as well as grassroots forms of mutual aid. The latter took shape mainly in Athens through two distinct networks.

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Around Lower Manhattan, storefronts have been boarded up since the looting in June. The plywood has been covered with murals and graffiti art on the theme of Black Lives Matter. Throughout June, angry protests were a daily affair, as in cities across the country.

Since the murder of George Floyd, the moment seems ripe with potential for a truly revolutionary situation. Anarchist ideas like abolishing the police are entering mainstream discourse with astonishing rapidity.

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Over the past year, on the streets of Santiago, I witnessed a movement that has transformed my perspective on anarchism coming to Chile shortly after its revolt began.

Officially a response to a minor hike in the metro fare, the popular wave of rebellion was, in reality, the result of fifteen years of revolutionary ferment.

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The sun of the austral summer rose warm on Santiago, the capital of Chile, as hundreds of thousands of women began to take to the streets on International Women’s Day. This traditional day of feminist mobilization celebrated annually on March 8 carried with it a special anti-patriarchal power in 2020 due to the fervent momentum that had been maintained on the streets of Chile since the social explosion in October of last year.

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If anarchist politics, the politics of communal liberation, is to escape from its present historical impasse, it must become, above all, a practice of creating the free community, here and now.

The greatest transformative force is living life together in a community of liberation and solidarity in which the greatest possibilities for personal and communal flourishing are unleashed through mutual aid and free association. A recognition of the power of this collective force must guide our practice.

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In so many ways, the fault lines in the U.S. and other countries are being violently exposed by the pandemic, and especially by the economic fallout in the many parts of the world where life was precarious for most people before Covid-19 struck. This includes a large and growing swath of the population of the U.S.

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Note: Hangovers are cantilevered buildings in New York City. Italics are quotes from Wislawa Szymborska’s poem.

Arise! Time to leave squalor, filth behind

the wars, carts of corpses, sludge and ashes

instead, let’s build heavens in New York’s blue skies

ignore the shards of glass, the bloody rags below

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“Bartolomeo Vanzetti and Nicola Sacco”
Chris Vanzetti
The artist’s great grandfather, Amleto Fabbri, was the Secretary of the Sacco-Vanzetti Defense Committee.
This painting references the famous photograph of the two anarchists.

Bartolomeo Vanzetti lived in Plymouth, Mass., when he and his comrade Nicolo Sacco were charged with robbing a factory payroll and murdering two guards, a crime they did not commit, but for which they were executed in 1927.

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During World War II the famous Hollywood filmmaker Frank Capra was commissioned by the U.S. Military to make a seven-part documentary film series titled “Why We Fight.” Its purpose was to counter Nazi propaganda films and justify U.S. involvement in the war to soldiers and civilians.

The first film in the series, “Prelude to War,” locates the origin of the conflict in the Japanese invasion and conquest of Manchuria in 1929 through 1932. But there were less known equally significant goings on in Manchuria that the film does not present. These have also been left out of most books and articles covering the history of the area.

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Rebellion is its own justification, completely independent of the chance it has to modify the state of affairs that gives rise to it. It’s a spark in the wind, but a spark in search of a powder keg.

—André Breton

If only one thing has brought me joy in the last few weeks, it began when the matriarchs at Unist’ot’en burned the Canadian flag and declared reconciliation is dead. Like wildfire, it swept through the hearts of youth across the territories. Reconciliation was a distraction, a way for them to dangle a carrot in front of us and trick us into behaving. Do we not have a right to the land stolen from our ancestors? It’s time to shut everything the fuck down!

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a review of

Capital City: Gentrification and the Real Estate State by Samuel Stein, 2019, Verso

Newcomers: Gentrification and Its Discontents by Matthew L. Schuerman, 2019, University of Chicago Press

The city where I live, Seattle, once was affordable. Thirty years ago, it was possible to find a decent place to rent at a reasonable cost; and if you had a little money, you could get a mortgage for not much more than you were paying in rent.

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a review of

Deciding For Ourselves: The Promise of Direct Democracy, Cindy Milstein, Editor. AK Press, 2020, akpress.org

“There are always movements, societies and communities in existence that are intimate and locally organized, where no one person owns every damn thing, and people can talk to each other and work things out among themselves; where everybody is relatively equal. Our most immediate work should be to learn how to adjust our vision so we can see these examples for what they are.”

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In the musical Rent, the archetypal hip, Lower East Side New York Bohemian protagonists call their landlord “the enemy of Avenue A” when he enters their chosen coffee shop, in the song “La Vie Bohême.” The title recalls that of the Puccini opera, La Bohême, on which Rent is based.

This in turn was based on stories published by the French writer Henry Murger in 1851, that established the archetype of the urban, artistic, liberal Bohemian that still prevails in gentrifying areas throughout today’s world.

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a review of

World War 3 Illustrated

Assorted Authors & Artists

AK Press akpress.org ww3.nyc

This graphic zine started by art-activists and squatters on New York’s Lower East Side back in the Reagan 1980s (hence, the apocalyptic name), has just published its 51^st issue.

There’s the sense of an historical cycle completing, as this edition grapples with the actually near-apocalyptic realities of Trump’s America—and windows of possibility they open. “Pandemic as Portal,” announces a full-page image by artist Kill Joy; “The time is now—imagine another world and fight for it.”

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p. 4, 14, 25 Dennis Fox writes and has taught about the intersections of anarchism, law/justice, radical/critical psychology, and interpersonal connection. dennisfox.net He explores abstract, street, ft other forms of photography dennisfoxphoto.com

p. 6 Tylonn J. Sawyer lives and works in Detroit as a multidisciplinary artist educator and curator. His work juxtaposes themes of identity, both individual and collective, with investigations of race and history in popular culture. tylonn-j-sawyer.com

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Welcome to Fifth Estate’s Anarchist Review of Books, edited by a collective based in Austin, Detroit, Chicago, New York, Oakland and Seattle. ARB brings you intelligent, subversive, non–dogmatic writing with an anti-authoritarian perspective.

We put this issue out at a time of grave concern in American publishing. A deadening combination of corporate consolidation and academic professionalization of writing has produced decades of embarrassing, dull work and uninspired critique that stands as a record of cowardice and complicity in literature; a one-two punch that has brought wily, vibrant work to its knees.

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A review of

Revolution at Point Zero: Housework, Reproduction, and Feminist Struggle: Beyond the Periphery of the Skin by Silvia Federici PM Press 2020

Before history appears on any page, it is written on the bodies of those who live it—as muscle, callous, stretch mark, wound. “The history of the body is the history of human beings,” writes Marxist and feminist scholar Silvia Federici, “for there is no cultural practice that is not first applied to the body.” The history of capitalism, then, is a history of bodies and their subjugation: of bodies exploited, enslaved, colonized and mechanized, bodies made work-machines in service of productive labor—or, for those bodies called “woman,” reproductive labor.

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“How can one speak of the present, when one feels abandoned by it?”

—Lara Mimosa Montes, Thresholes (Coffee House Press 2020)

“Grief is not always sharp, but grief is always.”

—Mairead Case, Tiny (Featherproof Books 2020)

“How did we get entrenched in this insidious wage labor relationship—where we’re servants to that really repulsive phrase, ‘making a living’? I hate that phrase. We have a living—we have lives. How dare that wage labor relationship—how dare work—overlay itself onto life—and even pretend that it is life?”

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A review of

Mutual Aid: Building Solidarity During This Crisis (and the Next) by Dean Spade. Verso 2020

With Mutual Aid: Building Solidarity During This Crisis (and the Next), the trans activist and law professor Dean Spade challenges the reader, and the radical left as a whole, to realize the power of Mutual Aid in collective struggles toward liberation. Spade helps to define the long and often untold history of Mutual Aid as an act of “building subversive networks of care which are of utmost importance to engage, radicalize, and directly provide for our communities.” Citing revolutionary history and contemporary struggle from the Black Panther Party, the efforts of Mutual Aid Disaster Relief, to Hong Kong’s anti-government protest movement, Spade has dropped in our collective laps an easy-to-read road map toward seeding, cultivating, and strengthening our movements, exactly when we needed it most.

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I was seven years old when my mother fell in love with our landlord. The apartment we lived in, in retrospect, was a slum.

It was a three story red paneled building with eight units, two on each floor, all occupied by cartoonish caricatures of poverty, myself and my mother included. My father was battling alcoholism, and my mother, yearning for stability, filed for divorce and moved us into the red apartment. She got a job down the street waiting tables at a restaurant, and we lived in that apartment for the next five years.

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A review of

Promise Me You’ll Shoot Yourself by Florian Huber. Little Brown/Hachette 2019

“Follow Your Leader!” reads the joyous anti-Nazi sticker portraying Adolph Hitler blowing his brains out with a pistol. And in 1945, as the Soviet Army rolled in from the East and Allied forces held the West, thousands upon thousands of “ordinary Germans” did just that in wave of mass suicide. They turned their guns upon themselves, prepared nooses for their entire families, and gobbled up the widely available cyanide ampules distributed by Nazi Party functionaries. Historian Florian Huber finds the suicide wave fascinating, and the widespread allegiance to Hitler and the Reich inexplicable, but the resultant book, Promise Me You’ll Shoot Yourself, falls flat—it’s the German historian equivalent of the 93^rd New York Times feature article about white Midwesterners who like Donald Trump.

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a review of

Uncanny Valley by Anna Wiener. Macmillan/Farrar Straus Giroux/MCD Books (Holtzbrinck Publishing Group) 2020

To escape her stagnant work as an assistant in publishing, Anna Wiener sold out and took a job in tech. Now she’s written about her experience, and published it. The result, Uncanny Valley, is a portrait of Silicon Valley from the perspective of a literary impostor, promising to reveal the scandalous truth.

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25 november 2019. 7:30 am. husson university, bangor, maine.

The memory begins here: we’re young, us skicins, and we’re somewhere on the reservation, the island. We could have been anywhere, but when we look back on it, we’re in the woods alongside the dirt road that runs against the Penobscot River down to the graveyard, a dead end (unless you count the path at the end wide enough for a car to shoulder through, in which case it is not a dead end, but just a continuation to another part of this place). Again, we could have been anywhere, but we remember the sound of water crashing in the distance, the tumultuous noise as the brown river rose, crescendoed, smashed against rock, water spilling onto the shore like a bowl filled too high and set not gently on a table. It must have been spring, when the ice on the river thawed, the bowl of our world filled too high.

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On the evening of January 19^th, 2018, while over 200,000 people gathered in New York City for the Women’s March, a thousand alt-right supporters converged for a “Night of Freedom” at Hell’s Kitchen FREQ NYC nightclub. Outside, a brawl broke out between one of the gala’s drunken attendees and David Alex Campbell, a 30-year-old anti-fascist activist. An NYPD officer threw Campbell to the ground, breaking his leg in two places. Later the cop alleged that Campbell had stalked, punched, and strangled a party goer. These allegations, later shown to be false by surveillance footage, were heavily circulated by the event’s organizer Mike Cernovich.

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a review of

People’s Republic of Neverland: The Child versus the State by Robb Johnson. PM Press 2020

Raising Free People by Akilah Richards. PM Press 2020

In the grammar of education, children are often passive objects. Children get educated; children get schooled. And what does education do to them? Charles Dickens described schoolchildren as “little parrots and small calculating machines.” A century and an ocean away from Victorian-era England, another artist and resistance worker, the musician Bob Marley, disavowed traditional education entirely: “If I was educated, I would be a damn fool.”

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Stuart Christie, Scottish anarchist, who practiced both the propaganda of the deed and the book, died at age 74 on August 15, 2020. Farewell and thank you good comrade.

Stuart came of age and political awareness in Glasgow in the early 1960s. The arc of his early politics went from a prospective Protestant Orange Lodge member to the anti-nuclear war movement of the Committee of 100 to the Glasgow Federation of Anarchists by the time he was 16. He was drawn to anarchism because it “was a way of life rather than an abstract view of a remote future. It was not a theory, a philosophy, a ‘programme for life,’ nor yet a description of how individuals and society should one day be, but a whole new way of looking at the world we were in.... [It was] something I could measure myself in my actions right now.”

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The body is the locus of authoritarian control in Meg Elison’s Big Girl (number twenty-five in PM Press’s Outspoken Authors series.) Gorgeously surreal, the collection includes speculative short stories, essays and an interview with Elison by Terri Bisson.

Elison, whose debut novel Book of the Unnamed Midwife won a Phillip K Dick Award in 2014, has a stunning emotional range. Her work can be prosaic, comic, rageful, grotesque and full of sorrow, all within the same piece, sometimes within the same sentence. The title story recounts, through news reports, the journey of a sixteen-year old girl who grows to enormous proportions. She wakes one morning with birds roosting on her eyelashes, she slogs through the San Francisco bay, she flicks away men who climb her, and she comes to occupy her own island like a B-movie monster.

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A review of

The Beast and Other Tales by Jóusè d’Arbaud, translated by Joyce Zonana. Northwestern University Press 2020

“I was happy on this barren land that barely provides what I need to sustain this ancient body, but which grants me the wild wind I cannot live without…”

These are the words of The Beast of Vacares, the title character of the title story in Jóusè d’Arbaud’s powerful collection. First published in Provençal in 1926 and long treasured in its native land, the book has only now been translated into English. For many American readers it will be their first glimpse of a landscape, way of life, and language that were under threat even at the time this book was written, founded on the freedom of open spaces and solitude.

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A review of

Resist Everything Except Temptation: The Anarchist Philosophy of Oscar Wilde by Kristian Williams. AK Press 2020

At first blush, Kristian Williams’ literary and political biography Resist Everything Except Temptation: The Anarchist Philosophy of Oscar Wilde, could have been an interesting blog post about the famed playwright. After all, the details of Wilde’s politics are well-known enough, articulated as they are in the essay “The Soul of Man Under Socialism.” He was an enemy of the state as well, and was arrested and imprisoned for gross indecency and sodomy. All that needs doing is to rifle through the man’s creative works and surviving correspondence to find some political bons mot, and behold—clickbait!

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This is the square and the building it serves is black and from above the glorious midday sunlight falls in long beams like wooden staves driven into the ground. I stand outside the entrance. The square is built in such a way that its four sides slope gently downwards to a wide flat surface at its center. The building is made of marble and granite and slate, all black and shining darkly. I am here. The double gates stand open. The air inside is cool and inviting. I am here, in the island of Myrmidon, in the Mandragora Archipelago, because I have to know.

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a review of

The Monster Enters: COVID-19 and the Plagues of Capitalism by Mike Davis. O/R Books 2020

As he has done in the past for California wildfires and famine in India, Mike Davis contextualizes pandemic disease in a matrix of capitalism and deprivation that make a particular kind of disaster inevitable. In The Monster Enters, Davis chronicles the emergence of a new virus; confusion reigns about how it spreads, how deadly it might prove, and how best to stop it. Some governments downplay the danger for political or economic reasons; others are hamstrung in their response by neglected public health infrastructure. People suffer and die—poor people most of all.

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A review of

The Great Offshore Grounds by Vanessa Vaselka. Knopf Penguin/Random House (Bertelsmann) 2020

In Steinbeck’s East of Eden, an indecent woman comes gives birth to a set of twins: one cheats poor farmers to make back money for his father, one drops out of college and is eventually killed in World War I. Before all that can happen the sociopathic mother tells the cheating son that they are just alike but he refuses to believe it. He brings his altruistic brother to meet her and the shame he inflicts upon her is the end of her life. These characters are a mix of settlers: early colonial era, as well as recent Irish and Chinese immigrants. Of these settlers, only one set achieves whiteness in America. All benefit from stolen land. All think they have a choice like Cain and Abel. They can choose righteousness or they can choose sin. This is supposed to be freedom; that they can undo generational harm.

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A review of

Reverse Cowgirl by McKenzie Wark. Semiotext(e) 2020

Told in vignettes, Reverse Cowgirl follows McKenzie Wark’s life through the ever-evolving landscape of Sydney’s gay and straight universes, exploring how the self is fashioned by time, clothes, class, music and sex. Wark’s multi-textual memoir pulls fragments of fiction, theory and correspondence into her own narrative, uncovering meaning through rewriting and reinscribing myth. Both a conversation with herself, and with the reader, Wark interrogates how the body’s meaning becomes created, observed, and interpreted. Her writing refuses a coherent trans memoir, imparting a sense of reverence for both that which the body knows but cannot name, and the power of self-definition. Essentially though, Reverse Cowgirl is about fucking, or more accurately, about being fucked.

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A review of

Digigram by Barbara Henning. United Artists Books 2020

Many poets have used broad strokes to deplore the current reactionary environment (as Eliot Katz does so superbly in President Predator), expressing their outrage, disgust and sadness, but Barbara Henning in Digigram takes a different route, examining how the coarsened political climate has insinuated itself into all the interstices of everyday life.

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a review of

Isle of Dogs by Jon Frankel. Whiskey Tit 2020

Every time Jon Frankel releases a novel it feels as if he’s managed to twist the English language into a new, illusory shape: a mobius strip made of words. Specimen Tank, his debut in 1994, is a lurid nightmarescape with one foot in the grimiest alley of 1980’s New York City and the other in the bizarro universe it took David Wong and all those Eraserhead Press writers another twenty years to finally tap into. If you strip down his latest book from Whiskey Tit, Isle of Dogs, it appears to resemble a political thriller—but it takes place in the year 2500 and all the politicians are multi-generational clones who ride flesh-eating horses around a war-torn, biopunk, feudalist-dystopian version of crumbling America. It’s like sitting down to watch a familiar courtroom drama and discovering your couch is releasing hallucinogenic spores while Netflix beams into your tv from two dimensions away. A word of warning: if you don’t first read Gaha: Babes of the Abyss (the sequel), you may ricochet off this book’s first chapter like a bullet shot into a centrifuge. Frankel must have snorted some Gene Wolfe recently, because he throws his reader directly into the center of the Sargon 4’s political web without wasting a single page on backstory, making it feel like a contemporary novel about life on Capitol Hill except now all the congress members have been replaced by techno-Spartans with delicate, epicurean palates. In a single scene, a couple of two-hundred year old clones might casually discuss mass genocide while drinking jasmine tea and referencing the latest issue of The New York Times, and Frankel continually mixes the familiarity of our modern day with his surreal vision of the future to keep the prose highly readable, yet somehow...askew. His style is a fusion of literary realism and highly imaginative science fiction that harkens back to works such as Philip K. Dick’s Martian Time-Slip, Samuel Delaney’s Trouble on Triton, and Ursula Le Guin’s The Lathe of Heaven. But compared to his other novels, such as The Man Who Can’t Die, Frankel has pumped the brakes on his graphic depictions of sexuality and violence, to the relief of some his readers and to the disappointment of others. This is possibly because Isle of Dogs is told from the perspective of the tyrannical Rulers rather than from their “genetically inferior” victims, and so the story has a familial warmth as the plot passes from character to character, almost as if the reader is peeking behind the curtains of the powerful kings or queens more typical of a high fantasy setting. Again, it’s difficult to pin a single genre on this or any of Frankel’s other works, but for the kind of reader who longs for a story that doesn’t have the slapped-together feel of too much of today’s popular fiction or the overwrought stylism of the literary novels hemorrhaging from Brooklyn’s coffee shops, this book will activate a part of your mind that you didn’t know was there before.

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By August 2020, nearly one third of all Americans had outstanding rent or mortgage payments. As eviction moratoriums expire, communities should look to successful actions against the American housing system for inspiration. Moms 4 Housing of Oakland, California is a notable example. The organization formed when Carroll Fife, the director of Oakland Alliance of Californians for Community Empowerment (ACCE) was approached by several mothers who had recently become homeless. The moms formed a collective, and together, they occupied a spectator property that had remained vacant for years. The occupation continued for two months while a legal battle to evict them ensued. As the case dragged on, Moms 4 Housing became a media sensation, gaining support from liberal journalists and politicians. Moms 4 Housing lost their court case on January 10^th 2020, and the mothers were evicted during a nighttime raid four days later. But the community stood by them, attempting to block the eviction and demanding justice. In response to the outcry, the landlord agreed to sell the property to a community land trust. Moms 4 Housing has drawn substantial attention to the severe failures of market housing.

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Throughout his life, David Graeber remained an eternal optimist who refused to accept the world as it is, and saw only what it could be. He envisioned international, directly democratic, and egalitarian politics. To achieve this required practice.

In Fragments of an Anarchist Anthropology, Graeber made an hypothesis: majoritarian democracy was in its origins essentially a military institution, a coercive political process in which the minority was compelled by force to do as the majority wanted. Often the “majority,” as in the case of Ancient Athens, was comprised only of white property-owning men. A real democracy could be found in non-Western examples, where people made decisions based on consent rather than coercion. He wrote, “If there is no way to compel those who find a majority decision distasteful to go along with it, then the last thing one would want to do is to hold a vote: a public contest which someone will be seen to lose.” Thus, in communities where the mechanism of coercion, most commonly the state, was absent, there was no reason to engage in a majoritarian process. Instead, he claimed, they operated by not only a formal consensus decision-making process, but a culture of consensus.

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Perpignan, 18 September 2020

The untimely death of anthropologist and activist David Graeber has triggered a wave of emotion in social networks and, in the world press, generated headlines recognizing the intellectual worth of his wide-ranging work and militant activism.

Which is why, in the posthumous tributes, there have been frequent references—more or less well-meaning—to his anarchist activism and his conception of anarchism. Although it needs to be highlighted that he did not enjoy being classified as an “anarchist anthropologist” because, in his view, anarchism is a practice rather than an identity: “anarchism is a matter of doing, not of being.”

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A review of

We Want It All: An Anthology of Radical Trans Poetics edited by Andrea Abi-Karam and Kay Gabriel. Nightboat Books 2020

We Want It All is a big, unwieldy, overflowing book—in this particular moment, there is a need for excess to respond to excess; to the smug American Horror Story of overblown, overglossed oppression and hatred. As We Want It All’s editors, Andrea Abi-Karam and Kay Gabriel, state, “Our aim in the present collection is therefore both to register and to amplify this tendency” to write against these excesses of power. They identify eight separate “overlapping strategies and concerns” in this anthology, acknowledging they are far from comprehensive, among them explorations of the ecological and the historical, collaborative exchanges and serial poems, satire and lyricism.

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Send letters to fe — AT — fifthestate — DOT — org or Fifth Estate, POB 201016, Ferndale MI 48220.

All formats accepted including typescript & handwritten.

Letters may be edited for length.

My partner brought home a copy of The Anarchist Review of Books and I wanted so much to love it.

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This issue’s theme, “What’s Next? Demand the Impossible,” is a challenge to all our imaginations.

We live in a world faced with the scourge of a plague, and in a country that is an armed madhouse with a good portion of its population seemingly gone off the rails with fascist rage and white fear.

What appears in these pages is nothing like a blueprint for where or how to focus our energies. We know well what we don’t want and what doesn’t work. In general, we know that creating alternative communities of resistance is what brings results and can provide a model of the world we desire.

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The Fifth Estate

Radical Publishing since 1965

FIFTH ESTATE #409, Summer, 2021, Vol. 56 No. 2, page 3

The Fifth Estate is an anti-profit, anarchist project published by a volunteer collective of friends and comrades. www.FifthEstate.org

No ads. No copyright. Kopimi — reprint freely

Unfuck the World, says the sign on this page and the next. It isn’t just a one-off, rude slogan held by someone justifiably angry at the state of things.

It stems from the 2017 rap/rock song of that name by The Prophets of Rage, a band comprised of members of Rage Against the Machine, Public Enemy, and Cypress Hill. It’s an anthem for what has become a worldwide movement that will host its 9^th annual UTW Day, September 18.

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Anarchist utopias are alive and well, not only in Chiapas or Rojava but also in the heart of capitalist Europe. In Germany, police repression and gentrification have dealt a decisive blow to traditional anarchist strongholds like Berlin, with numerous free spaces closed down since the pandemic started.

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The movement for social change must be comprehensive and multi-dimensional. There is no simple Solution and no single Best Way to get from here to there.

But there has recently been a shift of sentiment regarding where and how our efforts for social change are most likely to be rewarded. Individuals and families, increasingly atomized within mass society, lack the resources and leverage to have that much of an impact. At the other end of the spectrum, the dominate institutions (corporations, government agencies, large universities, non-profits, etc.) possess institutional inertia to a degree that frustratingly impedes change.

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We need to affirm the value of music, especially undomesticated music, particularly during the social deprivations of the current pandemic. The past year has been a blur of social isolation, sheltering-in-place, and lockdowns.

The muted horrors of 2020 and beyond have led to increasingly isolated pleasures, fearful desires, little moments of secret forgetting (or seeking forgetting), private escapes that often only exacerbate the effects of being alone and afraid. In this situation, for many people, the experience of media, watching movies, reading, or listening to music, becomes a coveted refuge, a vain attempt at relaxation and respite from constant, only half-acknowledged anxiety, a survivors’ kit for augmenting the effects of collectively (though unevenly) distributed, and privately suffered, cultural trauma. But the isolation of music, the intertwining of the musical experience with our increasing domestication, means that our attempts to heal may fall short.

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In Peter Kropotkin’s 1902 Mutual Aid: A Factor of Evolution, countless examples are provided of cooperation among animals, countering the social Darwinist concept of ruthless competition as the framework for both nature and human society.

Yet a frustrating exception to the seemingly ubiquitous importance of mutual aid was the apparent hyper-individualism of plants. Kropotkin dismissed this as due to their immobility, thus making competition a requirement for their survival. It is true that plants seem quite solitary, each concerned exclusively for its own survival.

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The direct action-oriented Earth First! radical environmental movement and its public-facing arm, the Earth First! Journal, turned 40 years old in 2020. And, 2020 almost killed the venerable Journal.

An Earth First! direct action blockade to defend a forest

The scrappy and irreverent publication was plunged into pandemic and quarantine hell, as its volunteers and tiny staff at its office in southern Oregon, used to working collectively in person, passing around articles being edited, was suddenly in chaos, navigating through poor internet in rural Oregon and steering over other considerable bumps in the road.

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Critical theory is a bit like pornography, as a Supreme Court justice once said when asked to define the latter: “I know it when I see it.”

Critical theory can be defined pretty loosely as well. It’s the multitude of intellectual spin-offs from Marx that began to take flight roughly a hundred years ago, at about the time that Lenin and his acolytes thought they have codified what Orthodox Marxism was, forever.

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The Selective Service Repeal Act of 2021 was introduced in Congress on April 14 with bipartisan support in both the House and the Senate. If this becomes law, registering for the hated draft will no longer be required.

The draft laws have always contradicted the 13^th Amendment that forbids involuntary servitude. The draft laws are the worst kind, forcing citizens to do the dirty, and often criminal work of the government in its endless wars, almost all of which are based on lies.

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The former Soviet republic of Belarus exploded into angry protests last August in the wake of contested presidential elections resulting in a totally implausible landslide victory for long-ruling strongman Alexander Lukashenko. Police, riot squads and army troops unleashed harsh repression, using rubber bullets, flash-bang grenades and water-hoses against demonstrators who objected to the results in the capital of Minsk and other cities.

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The prisons? Open. The army? Disbanded. And much more, besides.

Capitalism’s debraining machines have ceased all their debraining. Capitalism’s debraining machines lay rusty kudzu covered dead gone utterly forgotten.

It’s a love sex & shamanism world now, baby, yeah it’s everywhere ya look. Here, now, in this strange and marvelous and most lackadaisical of places—we all wear masks. Cuz we’re tricksters, kiddo, cuz we’re Monkey cuz we’re Crow. The ol’ Br’er Rabbit, reincarnated. But these masks of futurekind, they aren’t like any old mask that you knew from the waybackwhen, no siree.

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Love dolls. Robo-whores. Slutbots. Synthetic options. Whatever you call the life-sized Barbies made by California-based Abyss Creations and other companies around the world, these 70-lb, orifice-slotted mannequins have one primary purpose: to be the ever-obedient, surrogate sexual partners of their owners, which are almost always men.

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The late David Graeber perhaps said it best. “Bureaucracy has become the water in which we swim.”

For over 20 years, I was embedded within the New York City Board of Education as a licensed agent authorized to deploy weapons of mass instruction. These weapons were placed in our arsenal to control, and perhaps teach, but above all avoid scenes like the following, which happened just days after I started:

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In the fall of 2019, I taught a course at the University of Michigan: “Art and Anarchism: from Tolstoy to Pussy Riot.” The curriculum at the Ann Arbor, Michigan college concentrated on Russian anarchists, historic and contemporary, and was designed to be as accessible as possible even for those students with little knowledge of art, or Russia, or history, let alone anarchism.

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July 19 marks the 85^th anniversary of the Spanish Revolution.

This seems an opportune time, then, to reflect on multiple aspects of that revolution. It began as a response to an attempted right-wing military coup against the legally-elected left-wing government, unfolded in the midst of a brutal civil war, and came to an end with the victory of fascist armies in the spring of 1939.

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The Cuban state has usually been able to keep a tight lid on protests. Generally, it only allows demonstrations that have been organized by government ministries. However, during the fall and winter of 2020–21 the dissident San Isidro Movement in Havana began publicly defying the rules by demonstrating for freedom of expression for artists. The government responded with intimidation and even arrests.

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a review of

Surrealism: Inside the Magnetic Fields by Penelope Rosemont. City Lights Books 2020

I used to know an amazing old working-class philosopher (an electrician) and practical utopian who had a wonderful phrase to sum up his inspired anarchism: “We deserve the best.”

“The best” means, as Penelope Rosemont shows in this book, what the surrealists call “the marvelous,” a world of beauty, joy, and goodness. “We,” means everybody, of course.

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a review of

Summer on Fire: A Detroit Novel by Peter Werbe. Black & Red 2021

Summer on Fire, a debut novel from long time Fifth Estate staff member, Peter Werbe, takes place during seven weeks in 1967, the year I was born, during the months I lived in my radical mama’s belly. So, I definitely need the narrator’s front seat to those tumultuous times.

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My country’s red, long so I was told

Victories, a star glows

Flag crimson, glorious so

Vanguard leads, the people follow.

.

Red in sight, we have traded lives

Beat armies, lay siege to empires.

Red in mind, we have triumphed fights

Bathed rivals in blood and plight.

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Why today I see but grey

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a review of

1984: The Graphic Novel: George Orwell, Adapted & illustrated by Fido Nesti. HMH 2021

It might be that everyone has something to say about George Orwell’s 1984. It’s not only a perennial favorite among curriculum builders in American high schools, but also a ubiquitous shortcut for political meaning.

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a review of

Suosso’s Lane by Robert Knox (Web-e-Pub 2016). web-e-books.com/suosso/paperback.html

During the Red Scare following World War I, Nicola Sacco and Bartolomeo Vanzetti were the perfect candidates for judicial murder. Italian, immigrants, and anarchists.

They were convicted in 1921 of murdering a paymaster and a guard during an armed robbery at the Slater and Morrill Shoe Company in Braintree, Massachusetts. Although their innocence became increasingly evident, they were executed in the electric chair in 1927. Mass demonstrations protesting the trial and the verdict took place across North America and the world.

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a review of

Judas and the Black Messiah

Director: Shaka King 2hr 6m (2021)

“You can kill a revolutionary, but you can’t kill a revolution.”

—Fred Hampton, 1969

But what if killing a revolutionary does kill a revolution?

—Curious Film Critic

Until recently, few high school social studies classes, let alone the general adult population, ever stumbled upon COINTELPRO, state terrorism, or Fred Hampton, the last of four prominent African American leaders assassinated during the 1960s, after Medgar Evers, Malcolm X and Martin Luther King. As the mainstream seems even less aware of our essential protest past, perhaps Hollywood has oddly begun to fill a disturbing void.

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New York City. March 2020, the first days of the crisis that would define the year. The words “mutual aid” began to appear where they’d not been seen before, from lamp post flyers to Reddit neighborhood forums.

Everyone from New York Governor Andrew Cuomo to Britney Spears was using the expression. Loosely organized groups ran errands and made deliveries. Friends sewed masks for friends, then for friends of friends. And well before the summer’s boiling-over of righteous rage at police brutality, sustained protests attempted to hold Cuomo and the prison system accountable for leaving incarcerated at-risk people in facilities like Rikers Island, which became a hotspot for COVID.

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Images that appear in our pages are separate statements on the subject addressed in an article.

P. 29 Lars van Dooren is a Brooklyn-based artist. He is a 2020 Frederieke Sanders-Taylor Studio Projects Fund grant recipient. arsvandooren.com.

P. 20 Carla Repice’s work investigates systems of oppression and memory, and probes the effects of racism and dehumanization on the human psyche. She has an MFA in performance art, and studied painting and feminist theory at The Lorenzo de Medici School of Art in Florence, Italy. She lives in New York City.

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Diane di Prima has died. Now we have no choice but to introduce her to each other, since she is no longer here to introduce herself.

Diane Di Prima, 1960s

On paper, you could say, “she was a poet, she was a feminist, beatnik, anarchist, Buddhist.” You could list her famous friends and lovers. Promote her books, her poems, her art. But she was so many things.

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“Work, now? Never, never. I’m on strike.”

—Rimbaud

This year marks the 150^th anniversary of the Paris Commune, an experiment in self-governance that is still inspiring today. It was born in response to the suffering caused by the Franco-Prussian War and the betrayals of the French central government.

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In our neoliberal societies, elites like to quantify the worth of human lives in various ways. A telling example is per capita GDP (Gross Domestic Product) that determines the economic contribution each citizen makes to a nation.

Such a view gives succor to Social Darwinists and free-market right-wingers. If some lives are more valuable than others in this formulation then why should those of lower value be aided by the wider community? While few elite figures today would say things like this out loud, similar calculi tacitly inform many political decisions.

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Through the uproar of the sustained near-uprisings of Covid summer 2020 against police violence and systemic racism, one could sometimes hear more radical voices. The assertion from them that everybody behind bars should be recognized as a political prisoner is no longer completely beyond consideration. If so, then it’s worth looking at how radical prisoners have conceptualized their experiences within the state’s institutionalization of punishment.

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Recently, the Anarchist Political Ecology Group (the APE Group) read and discussed Ursula Le Guin’s book Always Coming Home. Though it’s a work I often go back to, this was the first time I had read it cover to cover in about thirty-five years.

I first discovered Le Guin’s work when I read The Dispossessed in the mid-1970s. The book had a huge effect on the members of the anarchist group I was in at the time, the Black Pearl Mutual Aid and Pleasure Club in New Orleans.

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“It was the best of times, it was the worst of times.”

This famous quote from Charles Dickens’ Tale of Two Cities probably can be applied to any era, but which it is depends upon where you are situated at a given time.

Most of us, though, might find it difficult to locate the best at this moment as we face a pandemic, an increasing climate crisis, and a rising fascist movement among other contemporary disasters.

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To break off from the homeworld,

Separate and start anew,

Takes courage nigh unknowable.

Make a new language, speak it;

Choose a harsher planet, keep it;

Dispossess yourself of things

And your only home alike;

Leave the old lush rainforests

For frigid deserts, dry, starving,

Where through hardship you are free.

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Fifth Estate

Radical Publishing since 1965

Vol. 56, No. 3, #410, Fall 2021

The Fifth Estate is an anti-profit, anarchist project published by a volunteer collective of friends and comrades.

www.FifthEstate.org

No ads. No copyright. Kopimi — reprint freely

a review of

Big Girl by Meg Elison. PM Press 2020

While there are several excellent reprints in the newest volume on Meg Elison in the PM Press Outspoken Authors series, let’s focus on the two originals. An all-too-real dystopian short story titled “Such People in It,” and the Nebula-nominated novelette, “The Pill.”

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a review of

Secolo Nuovo or The Times of Promise by Fulvia Ferrari. Detritus Books 2021

“There are people in this world committed to spreading rebellion as far as possible. They appear amid the disaster and guide people away from the [wreckage]. They carry a secret flame that can infect entire cities with its brightness. Fulvia carried this flame along with many others, living and dead, and they passed the sacred flame to us. It’s possible Fulvia never had children. Maybe those children are us.”

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a review of

We’re Not Here to Entertain: Punk Rock, Ronald Reagan, and The Real Culture War of 1980s America by Kevin Mattson. Oxford University Press 2020

This book reminds us that the 1980s—in addition to being a period of reactionary politics (Reagan’s efforts to “make America great again”) and reactionary music (synthesizer-dominated pop and MTV videos)—was also the decade of hardcore punk.

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a review of

Five Wives: A Novel by Joan Thomas. HarperCollins Publishers, Ltd. 2019

Five Wives is a compelling novel about Operation Auca, a missionary project undertaken by evangelical Protestants in Ecuador in the mid-1950s. It seamlessly mixes the story of those events with the imagined thoughts and responses of both the original participants and their children and grandchildren.

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a review of

Dreams of Anarchy and the Anarchy of Dreams by Ron Sakolsky; Illustrations by Rikki Ducornet. Autonomedia 2021

In Lewis Carrol’s Alice in Wonderland, the Mad-Hatter poses the famous riddle, “Why is a raven like a writing-desk?” It is not a question that has a predefined answer, but which projects itself, through a lightning-bolt of poetic analogy, into some future resolution—one that we feel pulsing like magic just outside our current field of perception.

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a review of

Free Speech & the Suppression of Dissent During World War I by Eric T. Chester. Monthly Review Press 2021

The focus of Eric Chester’s incisive study is the clash between the state and its dissenting citizens during the time of war. While based on a fundamental belief in the absolute right of free speech, Chester’s book navigates the ways that the government of President Woodrow Wilson imperiled and suppressed free speech during World War I.

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Is your nature revolting? You certainly look the type. Yes? Then you will be interested in a very special inscription found scrawled on the wall of a public toilette by some good fairy to offer us salvation in transformation: “you must get smaller.” No simple task you might say. Maybe Alice left us a crumb, you might quip. Or perhaps we can reverse time, you add incredulously. No, my cynical friend, there is another way. And I found it on a sunny Sunday walk in the park. It is simple. Just walk out on the path with a stone in one hand and a leaf in the other and think of a vine sprouting through asphalt. When that pale green light inside your aorta expands around you and the or olfactories are filled with the scent of rich earth, you are ready, and your feet will guide you to the deeply trodden path of the deer. Crouch low to pass under boughs and thick bramble till you can feel your hooves firmly beneath you. Sniff out the rabbit trails among the moss and dry leaves, straining to follow them until you can hear clearly with your long, soft ears. Search out the long line of ants and walk with them until you can taste with your antennae down in the detritus. Crawl down into the earth, ever smaller and deeper. Until you are so small you can fit inside the smallest unit of life. And there, of course, you will find and become that which...well, I can’t tell you what. Perhaps you’ll know soon enough. In any case, I must be going. I have some graffiti to write.

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a review of

Now Let’s See What You’re Gonna Do: Poems 1978–2002 by Katerina Gogou; translation by A.S., forward by Jack Hirschman. fmsbw press 2021

A biographer of Katerina Gogou terms her “the anarchist poetess of Exarcheia,” the so-called “edgy alternative” Athenian neighborhood with its political murals and anarchist bookshops. I have been to Athens, once, but the tour guides never pointed us that way. So, I will take on faith a biographer’s description of Gogou, who died in 1993 by her own hand, as “Greece’s greatest anarchist poetess.”

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a review of

Underground Asia: Global Revolutionaries and the Assault on Empire by Tim Harper. Harvard University Press 2021

This dauntingly detailed book on the roots of Asia’s anti-colonial movements documents the early influence of anarchism, and how it was ultimately displaced by nationalisms of different stripes.

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a review of

Pandemic Solidarity: Mutual Aid during the Covid-19 Crisis Edited by Marina Sitrin and the Colectiva Sembrar. Pluto Press, London, 2020

Every nation state has failed miserably in preventing, controlling and managing the still raging COVID 19 pandemic. While military, police, and prison systems continue unabated in their coercive functions, hospitals, public health and social welfare systems in many parts of the world are overwhelmed and in disarray.

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a review of

The Daring Life and Dangerous Times of Eve Adams (with the original text of “Lesbian Love”) by Jonathan Ned Katz. Chicago Review Press 2021

Eve Adams died in Auschwitz, the Nazi death camp, because the U.S. government could not countenance the writer of a lesbian love story (among her other transgressions) to reside in the U.S.

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a review of

Constructing Ecoterrorism: Capitalism, Speciesism & Animal Rights by John Sorensen. Fernwood Publishing 2016

Anarchist and vegetarian Leo Tolstoy stated in his essay, “What I believe,” that “as long as there are slaughterhouses, there will always be battlefields.”

The quote, though often simply taken as a condemnation of violence against both humans and non-human animals, also ties the state, capitalism, and the rights of animals together in the way many animal rights activists do today.

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a review of

Holding Change: The Way of Emergent Strategy Facilitation and Mediation by adrienne maree brown. AK Press 2021

Holding Change is the kind of wise resource book I wish so very badly that I had when I was free and organizing. Way too often, I witnessed the depressing cycle of a hopeful and energetic coming together of a grassroots group break down into sad, burned-out individual activists.

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a review of

Architecture and Anarchism: Building Without Authority by Paul Dobraszczyk. Paul Holberton Publishing 2021

To a man with a hammer, everything looks like a nail. To a state, every human activity looks like it needs to be pounded into the correct, pre-planned shape. State authorities always claim their social engineering schemes will raise living standards and promote the general happiness. No surprise, their plans do not always work.

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a review of

Urgent Publishing after the Artist’s Book: Making Public Movements Toward Liberation by Paul Soulellis (Book Design: Be Oakley). GenderFail 2021

Urgent Publishing After the Artist’s Book operates as a document, a record, an archival object and a piece of art, while the book’s commentary on the arts, publishing, and social justice is expressed both through text and graphic design. It challenges the reader’s role as viewer and consumer, potential ally and an unwitting antagonist.

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a review of

Prophet Against Slavery: Benjamin Lay, A Graphic Novel by David Lester, author and artist, with editors, Paul Buhle and Marcus Rediker. Beacon Press 2021

Sean-Michel Basquiat’s 1984 painting Created Equal might be the first time the phrase “NO JUSTICE NO PEACE” was documented in that exact language, though its sentiment was a familiar one. A decade before, Pope Paul VI declared at a World Peace Day in 1972 that for a world dealing with colonial exploitation, “If you want peace, work for justice.”

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a review of

Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder. Norton, 2017

Nomadland—Film 2021; Director: Chloe Zhao

In case you weren’t paying attention, the Academy Awards for best picture, best director, and best actress this year all went to Nomadland, a drama centered around Fern (Frances McDormand), a woman near retirement age, after losing her husband and her home, starts living in a van.

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a review of

No More Mushrooms: Thoughts About Life Without Government by Kirkpatrick Sale. Autonomedia 2021

Kirkpatrick Sale has been an activist, author, and promoter of decentralism and bioregionalism for more than 50 years. No More Mushrooms stitches together material from two of his best-known books, Human Scale (1980) and Human Scale Revisited (2017), to give a quick summary of his thinking about government and the potential for creating new societies based on community, interdependence, and mutual obligation.

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a review of

The Bittersweet Science; Racism, Racketeering, and the Political Economy of Boxing by Gerald Horne. International Publishers 2021

Watching two men beat the crap out of each other either in the ring or in the alley has always seemed a little boring. However, not so for followers of the brutal sport, particularly in an era gone by when fans knew the names of every champion and challenger in the different divisions down to welterweights

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a review of

Catastrophic Thinking: Extinction and the Value of Diversity from Darwin to the Anthropocene by David Sepkoski. University of Chicago Press 2020

Catastrophic Thinking is not an optimistic book. However, it is relentlessly realistic.

Sepkoski is a professor at the University of Illinois specializing in transnational history of biological, environmental, and information sciences in cultural context.

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Bread and Puppet Theater’s Elka Schumann died this past August, at the age of 85. She and her partner, Peter Schumann, co-founded the Bread and Puppet Theater, the innovative and radical theater group, in New York City in 1963.

[caption id=“attachment_23753” align=“alignright” width=“256”] The Bread and Puppet Theater’s use of giant puppets with social justice themes has inspired similar use around the world[/caption]

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a review of

Champavert: Immoral Tales by Petrus Borel, trans. Brian Stableford. Borga Press, 2013 WildsidePess.com

The long-forgotten radical novel, Champavert, is the only full-length book available in English by Petrus Borel. The anti-authoritarian poet was known in 19^th century French underground circles as “The Lycanthrope” (Wolfman), and was central to the creation of the cultural avant-garde as both an idea and a functioning community in that era.

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