Bücher veröffentlicht von Seven Stories Press,U.S.

A new voice in comics is incisive, funny, and fiercely feminist."The mental load. It's incessant, gnawing, exhausting, and disproportionately falls to women. You know the scene--you're making dinner, calling the plumber/doctor/mechanic, checking homework and answering work emails--at the same time. All the while, you are being peppered with questions by your nearest and dearest 'where are my shoes?, 'do we have any cheese?...'" --Australian Broadcasting Corp on Emma's comicIn her first book of comic strips, Emma reflects on social and feminist issues by means of simple line drawings, dissecting the mental load, ie all that invisible and unpaid organizing, list-making and planning women do to manage their lives, and the lives of their family members. Most of us carry some form of mental load--about our work, household responsibilities, financial obligations and personal life; but what makes up that burden and how it's distributed within households and understood in offices is not always equal or fair. In her strips Emma deals with themes ranging from maternity leave (it is not a vacation!), domestic violence, the clitoris, the violence of the medical world on women during childbirth, and other feminist issues, and she does so in a straightforward way that is both hilarious and deadly serious.. If you're not laughing, you're probably crying in recognition. Emma's comics also address the everyday outrages and absurdities of immigrant rights, income equality, and police violence. Emma has over 300,000 followers on Facebook, her comics have been. shared 215,000 times, and have elicited comments from 21,000 internet users. An article about her in the French magazine L'Express drew 1.8 million views--a record since the site was created. And her comic has just been picked up by The Guardian. Many women will recognize themselves in THE MENTAL LOAD, which is sure to stir a wide ranging, important debate on what it really means to be a woman today.

Noam Chomsky's backpocket classic on wartime propaganda and opinion control begins by asserting two models of democracy-one in which the public actively participates, and one in which the public is manipulated and controlled. According to Chomsky, "propaganda is to democracy as the bludgeon is to a totalitarian state," and the mass media is the primary vehicle for delivering propaganda in the United States. From an examination of how Woodrow Wilson's Creel Commission "succeeded, within six months, in turning a pacifist population into a hysterical, war-mongering population," to Bush Sr.'s war on Iraq, Chomsky examines how the mass media and public relations industries have been used as propaganda to generate public support for going to war. Chomsky further touches on how the modern public relations industry has been influenced by Walter Lippmann's theory of "spectator democracy," in which the public is seen as a "bewildered herd" that needs to be directed, not empowered; and how the public relations industry in the United States focuses on "controlling the public mind," and not on informing it. Media Control is an invaluable primer on the secret workings of disinformation in democratic societies.

2022 NEW YORK TIMES NOTABLE BOOKThe novelist, cultural critic, and indie icon serves up sometimes bitchy, always generous, erudite, and joyful assessments from the last thirty-five years of cutting edge film, art, and literature.“One of the most important chroniclers of the modern psyche.” —The GuardianIntroduction by Christian LorentzenWhether he’s describing Tracy Emin or Warhol, the films of Barbet Schroeder (“Schroeder is well aware that life is not a narrative; that we impose form on the movements of chance, contingency, and impulse....”) or the installations of Barbara Kruger (“Kruger compresses the telling exchanges of lived experience that betray how skewed our lives are…”), Indiana is never just describing. His writing is refreshing, erudite, joyful.Indiana champions shining examples of literary and artistic merit regardless of whether the individual artist or writer is famous; asserts a standard of care and tradition that has nothing to do with the ivory tower establishment; is unafraid to deliver the coup de grâce when someone needs to say the emperor has no clothes; speaks in the same breath—in the same discerning, insolent, eloquent way—about high art and pop culture. Few writers could get away with saying the things Gary Indiana does. And when the writing is this good, it’s also political, plus it’s a riot of fun on the page.Here is Gary Indiana on Euro Disney resort park in Marne-la-Valée outside of Paris:John Berger compares the art of Disney to that of Francis Bacon. He says that the same essential horror lurks in both, and that it springs from the viewer’s imagining: There is nothing else. Even as a child, I understood how unbearable it would be to be trapped inside a cartoon frame.

In this impassioned polemic, radical environmental philosopher Derrick Jensen debunks the near-universal belief in a hierarchy of nature and the superiority of humans. Vast and underappreciated complexities of nonhuman life are explored in detail-from the cultures of pigs and prairie dogs, to the creative use of tools by elephants and fish, to the acumen of caterpillars and fungi. The paralysis of the scientific establishment on moral and ethical issues is confronted and a radical new framework for assessing the intelligence and sentience of nonhuman life is put forth. Jensen attacks mainstream environmental journalism, which too often limits discussions to how ecological changes affect humans or the economy-with little or no regard for nonhuman life. With his signature compassionate logic, he argues that when we separate ourselves from the rest of nature, we in fact orient ourselves against nature, taking an unjust and, in the long run, impossible position.Jensen expresses profound disdain for the human industrial complex and its ecological excesses, contending that it is based on the systematic exploitation of the earth. Page by page, Jensen, who has been called the philosopher-poet of the environmental movement, demonstrates his deep appreciation of the natural world in all its intimacy, and sounds an urgent call for its liberation from human domination.

Alexander Berkman was a twentieth-century American revolutionary. Like the abolitionist John Brown before him, Berkman was hugely idealistic, ready to go to the furthest extreme of self-sacrifice and violence on behalf of justice and civil rights. He decided to assassinate industrialist Henry Clay Frick after reading in the newspaper that Pinkertons hired by Frick had opened fire on the Homestead strikers, killing men, women, and children. Berkman's bungled attempt cost him fifteen years in a federal penitentiary. Upon his release, he became an effective agitator against conscription and was again imprisoned and eventually deported to Russia, where he saw at first hand the early days of Bolshevism. Berkman's writings remain a lasting and impassioned record of intense political transformation. Featuring a new introduction by Howard Zinn, Life of an Anarchist contains Prison Memoirs of an Anarchist, Berkman's account of his years in prison; The Bolshevik Myth, his eyewitness account of the early days of the Russian Revolution; and The ABC of Anarchism, the classic text on the nature of anarchism in the twentieth century. Also included are a selection of letters between Berkman and his lifelong companion Emma Goldman, and a generous sampling from Berkman's other publications.