I am Professor of Classics at George Mason University. I learned about ancient Romans and Greeks in my native Germany, when I attended a humanist high school, possibly the oldest in the country. (It was founded during the reign of Charlemagne, as the eastern half of the Roman Empire was still flourishing.) My mother once informed me that I betrayed my passion for stories long before I could read because I enthusiastically used to tear pages out of books. In my teens I became fascinated with stories told in moving images. I have been a bibliophile and, em, cinemaniac ever since and have pursued both my obsessions in my publications.
Fast ran afoul of the House Committee on Un-American Activities and was sent to prison for contempt of Congress.
To him, as to Karl Marx and others, the gladiator Spartacus, who led history’s best-known slave revolt (73 to 71 B.C.), symbolized the proletariat’s revolution against capitalist oppressors and depraved imperialists.
Despite some dubious history and one distasteful distortion concerning the Romans’ exploitation of slaves, Fast’s 1951 novel is a stirring tale, intended “so that the dream of Spartacus may come to be in our own time.”
When no publisher would touch his book, Fast had it printed and distributed on his own.
The screenplay for Stanley Kubrick’s film adaptation was by Dalton Trumbo, another HUAC victim. His screen credits for Spartacusand, a little earlier, for Exodusended the blacklist.
Books are my passion; architecture relates to my profession. The combination, for me, is pure joy. I get such pleasure building my personal library of architecture, design, art, and photography books. After having been a magazine editor and writer, I founded Taylor & Company in 1994, to promote the value of architecture and design. My respect for architects is deep—they create something that must function in all ways and are still able to express themselves creatively. The books I’ve selected are all written by architects, giving me an extra layer of admiration for their talents to express themselves in other media.
An award-winning architect and poet, Marx explores creative ideas through poetry and watercolors, giving a very different way to view the art and craft of architecture. The paintings have a mysterious calm to them—evoking the work of Giorgio de Chirico—and are poetic in themselves. And then, you get actual poetry alongside the paintings! Graphic artist Jeremy Mende’s layout of the poems adds yet another layer of artistry. The tactility of the book as an object is delightful. Printed on thick watercolor paper, the book appears as a precious portfolio of secret thoughts and dreams.
John Marx's watercolours, first published in the Architectural Review, are a captivating example of an architect's way of thinking. Subtle and quiet they are nonetheless compelling works in how they tackle a sense of place, of inhabiting space and time all the while resonating with the core of one's inner being. There is an existential quality to these watercolours that is rare to be found in this medium. Something akin to the psychologically piercing observational quality of artists like De Chirico or Hopper.
As architects strive to communicate their ideas, it is interesting to explore the world of Marx's watercolours…
David S. Reynolds is a Distinguished Professor at the Graduate Center of the City University of New York. He is the author or editor of 16 books, on subjects that include John Brown, Abraham Lincoln, Walt Whitman Andrew Jackson, Harriet Beecher Stowe, and the literary and popular culture of the American Renaissance. He is the winner of the Bancroft Prize, the Lincoln Prize, the Abraham Lincoln Book Prize, the Ambassador Book Award, the Christian Gauss Award, and a finalist for the National Book Critics Circle Award.
This skillfully edited anthology of contemporary responses to Brown lets us experience firsthand the controversies surrounding Brown during his lifetime. Reprinted in this volume are dozens of 19th-century writings--letters, speeches, articles, poems, diary entries--that demonstrate just how central John Brown was to the cultural and political life of his time. Included in the book are writings about Brown by some of the century's most notable people: Abraham Lincoln, Walt Whitman, Henry Ward Beecher, Jefferson Davis, Herman Melville, Stephen Douglas, Louisa May Alcott, Victor Hugo, and Karl Marx, to name a few.
When John Brown led twenty-one men in an attack on the federal arsenal at Harpers Ferry on October 16, 1859, he envisioned a biblical uprising of millions of armed bondsmen, thus ridding the nation of the scourge of slavery. The insurrection did not happen, and Brown and the other surviving raiders were quickly captured and executed. This landmark anthology, which collects contemporary speeches, letters, newspaper articles, journals, poems, and songs, demonstrates that Brown's actions nonetheless altered the course of American history.
John Stauffer and Zoe Trodd have assembled an impressive and wide-ranging collection of responses to Brown's raid: Brown's own…
27 years of teaching social and cultural theory to undergraduate and graduate students at the University of British Columbia have shaped the way I think about challenging works like Marx’s Capital. I’ve come to approach the classics of sociology not just as systematic scientific treatises, but also as literary works with a beginning, middle, and end, and as political projects designed to seize upon the power of words for practical purposes.
Even though this book only comes out in 2023, and the high price tag means that most of us will only be able to access it from libraries, this monumental collection will be the landmark study of the global reception and translation of Marx’s great book. The parts I’ve seen or heard about are riveting, since they make us think about what it means to read and how reading can change minds as well as worlds.
Marx's Capital has been the focus of widespread interest in the wake of the international financial crisis that erupted in 2008, as hundreds of leading daily and weekly papers throughout the world discussed the contemporary relevance of its pages. Many are again looking to an author who in the past was often wrongly associated with the Soviet Union, and who was too hastily dismissed after 1989. New or republished editions of Marx's work have become available almost everywhere. The literature dealing with Marx, which all but dried up twenty-five years ago, is showing signs of revival in many countries, and…
Like most people, I read lots of different kinds of books, but I am often drawn to novels with unusual themes, structure, or all those things. As a comedy writer, I have always loved surreal writing – the Goon Shows on the radio, or the plays of NF Simpson – and this applies to my taste in literature as well. The unreal, the slightly detuned, anything that suggests this world is not entirely what it seems, or if it is what it seems, then it is an idiot.
A comic novel from 1940, ostensibly a reworking of Romeo and Juliet set in the 19th century. Don’t Mister Disraeli is in fact a wild rampage through Victorian fiction and history. The only book I know of that’s influenced by both the Marx Brothers and JW Dunne’s An Experiment In Time, this is Alice In Wonderland as a history lesson and it’s brilliant.
I read this book when it was first published back in 1995, but I re-read it
this year. Ackroyd sets his tales in London, whether modern or historic (sometimes,
like in Hawksmoor, both), and this one is set in the Victorian era.
We are in
the pre-Jack the Ripper East End, where there is a series of gruesome killings
by the almost supernatural "Limehouse Golem" while, at the same time, Elizabeth
Cree (a music hall performer) is on trial for killing her husband. Inspector
Kildare has to deal with both.
Kildare is a wonderfully drawn character, world-weary but half-enamored of Ms Cree. Bill Nighy was a superb choice of actor in
the film.
The
dark and dangerous streets of Limehouse give way to the naptha and greasepaint
of the music hall, as Dan Leno (a real person) is drawn into the case, as are
Karl Marx and George Gissing. Leno…
NOW AN UNMISSABLE FILM STARRING BILL NIGHY, DOUGLAS BOOTH AND OLIVIA COOKE.
'Mesmerising, macabre and totally brilliant' Daily Mail
Before the Ripper, fear had another name.
London, 1880. A series of gruesome murders attributed to the mysterious 'Limehouse Golem' strikes fear into the heart of the capital. Inspector John Kildare must track down this brutal serial killer in the damp, dark alleyways of riverside London. But how does Dan Leno, music hall star extraordinaire, find himself implicated in this crime spree, and what does Elizabeth Cree, on trial for the murder of her husband, have to hide?
Since before I was a teenager, I have been painfully aware of two things: the society I am living in is an extremely racist one, and capitalism fosters egotism, greed, selfishness, and a degradation of what is best in life. Ever since then I have been pursuing the goal of envisioning, and in some way advancing, an alternative to both (which in my view are related). I have suggested these five books because they have given me much inspiration for pursuing this goal, difficult as it surely is. I hope they will prove to be for you as well.
This book, published in 2010, focuses on a much-neglected dimension of Marx’s work—his writings in defense of anti-colonial movements in Ireland, India, China, and elsewhere as well as his support for anti-racist movements in the U.S.
In contrast to claims that Marx was a class reductionist whose body of thought was incapable of accounting for issues of race and ethnicity, this work shows how he overcome many of the Eurocentric biases found in his earliest writings as he engaged in a systematic study of the non-Western world in the last decades of his life.
This a book that will change your view of what Marx was about from top to bottom.
In Marx at the Margins, Kevin Anderson uncovers a variety of extensive but neglected texts by Marx that cast what we thought we knew about his work in a startlingly different light. Analyzing a variety of Marx's writings, including journalistic work written for the New York Tribune, Anderson presents us with a Marx quite at odds with conventional interpretations. Rather than providing us with an account of Marx as an exclusively class-based thinker, Anderson here offers a portrait of Marx for the twenty-first century: a global theorist whose social critique was sensitive to the varieties of human social and historical…
Being a Leftist, I started reading Capital as a student, back in the 1970s.I was impressed by Marx's analysis, emphasizing that capitalist relations of power appear as money generating more money, as a “thing” that functions as capital; furthermore, that credit functions as the most drastic form of money, so that the financial sphere is not a “parasitic” appendage of the “real economy”, but a mechanism for enforcing the “rules” of the system. As Professor of Political Economy since the late 1980s, I enjoy revealing to my students the structural contradictions of the system we live in. E.g., that the standard of living of the social majority (of the wage-earners) is (labour-)‘‘cost” of capital.
In a vivid and comprehensible way, Heinrich outlines the historical, economic, and social conditions for the emergence of Marx’s theory, the “Critique of Political Economy”.
He addresses its methodological foundations, and introduces the most important terms and concepts.
What actually is capitalism, and what is Marx’s dialectic all about? How is surplus value created? What is fetishism, and how does it relate to politics and the state?
Beyond that, Heinrich also asks about the topicality of Marx’s thought and the possibility of a “society beyond the commodity form”.
The global economic crisis and recession that began in 2008 had at least one unexpected outcome: a surge in sales of Karl Marx's Capital. Although mainstream economists and commentators once dismissed Marx's work as outmoded and flawed, some are begrudgingly acknowledging an analysis that sees capitalism as inherently unstable. And of course, there are those, like Michael Heinrich, who have seen the value of Marx all along, and are in a unique position to explain the intricacies of Marx's thought.
Heinrich's modern interpretation of Capital is now available to English-speaking readers for the first time. It has gone through nine…
I love cities and I teach about them. I was born in the capital of Sofia, Bulgaria, and landed in the US (mostly by chance) in 1993. Spent most of my professional life in US academia (Michigan, Virginia Tech, Harvard, Maryland, and now Georgia). I never stopped wondering how cities change and why American cities look and function so differently than European cities. So, I wrote a few books about cities, includingIron Curtains; Gates, Suburbs and Privatization of Space, which is about changes in East European Cities after the fall of the Berlin Wall.
A modern classic! A fascinating analysis of arts, culture, literature, and social and urban change. A breathtaking read of Goethe’s Faust to Dostoyevsky’s Notes from the Undergroundand a sharp analysis of what Hausmann’s Parisian boulevards have to do with the prospects of pre-revolutionary St. Petersburg and the highways of mid-century New York. Fantastic chapters on Karl Marx (from whom the title of the book is borrowed) and Charles Baudelaire. Written with poetic perfection!
"A bubbling caldron of ideas . . . Enlightening and valuable." Mervyn Jones, New Statesman.
The political and social revolutions of the nineteenth century, the pivotal writings of Goethe, Marx, Dostoevsky, and others, and the creation of new environments to replace the old all have thrust us into a modern world of contradictions and ambiguities. In this fascinating book, Marshall Berman examines the clash of classes, histories, and cultures, and ponders our prospects for coming to terms with the relationship between a liberating social and philosophical idealism and a complex, bureaucratic materialism.
27 years of teaching social and cultural theory to undergraduate and graduate students at the University of British Columbia have shaped the way I think about challenging works like Marx’s Capital. I’ve come to approach the classics of sociology not just as systematic scientific treatises, but also as literary works with a beginning, middle, and end, and as political projects designed to seize upon the power of words for practical purposes.
As an academic, I was at first skeptical about reading a comic version of Marx’s masterpiece, but Smith and Evans brilliantly manage to be both entertaining and enlightening, hilariously funny as well as dead serious. Even if you’re not familiar with any of the key concepts, you’ll get a lot out of the way they combine simple descriptions with the illustrations, and the updated edition really resonates with the financial crises we’ve experienced in the last couple of decades.
Karl Marx did not write Das Kapital for the bookshelves of economists and philosophers. It is economics for working people, from their viewpoint and history. It is the classic masterpiece of revolutionary working-class politics. Here, David Smith and Phil Evans explode the myth of difficulty haunting Marx's Kapital.
