Class Of The Dead

A new translation of the best and most provocative short stories by the author of Transit and The Seventh Cross. Best known for the anti-fascist novel The Seventh Cross and the existential thriller Transit, Anna Seghers was also a gifted writer of short fiction. The stories she wrote throughout her life reflect her political activism as well as her deep engagement with myth; they are also some of her most formally experimental work. This selection of Seghers’s best stories, written between 1925 and 1965, displays the range of her creativity over the years. It includes her most famous short fiction, such as the autobiographical “The Dead Girls’ Class Trip,” and others, like “Jans Is Going to Die,” that have been translated into English here for the first time. There are psychologically penetrating stories about young men corrupted by desperation and women bound by circumstance, as well as enigmatic tales of bewilderment and enchantment based on myths and legends, like “The Best Tales of Woynok, the Thief,” “The Three Trees,” and “Tales of Artemis.” In her stories, Seghers used the German language in especially unconventional and challenging ways, and Margot Bettauer Dembo’s sensitive and skilled translation preserves this distinction.

The dead are rising! This blasphemous tome gives players and GMs everything they need to bring the shambling menace of the undead to their Pathfinder adventures. This book includes tools for fighting against the undead horde, but also options for the players themselves to control or even become undead creatures. GMs will find new tools and haunts, as well as information about the undead-plagued lands of the Lost Omens campaign setting. A massive bestiary section full of undead creatures brings more threats for GMs to use and summonable creatures for players, including more versions of classic undead like vampires, skeletons, and zombies. This 224-page hardcover rulebook also includes a full adventure themed around fighting the undead!

Despite its international influence, Polish theatre remains a mystery to many Westerners. This volume attempts to fill in current gaps in English-language scholarship by offering a historical and critical analysis of two of the most influential works of Polish theatre: Jerzy Grotowski’s ‘Akropolis’ and Tadeusz Kantor’s ‘Dead Class’. By examining each director’s representation of Auschwitz, this study provides a new understanding of how translating national trauma through the prism of performance can alter and deflect the meaning and reception of theatrical works, both inside and outside of their cultural and historical contexts.

Is Apartheid Really Dead? Pan Africanist Working Class Cultural Critical Perspectives is an engaging and incisive book that radically challenges the widespread view that post-apartheid society is a liberated society, specifically for the Black working class and rural peasant populations. Julian Kunnie's central contention in this book is that the post-apartheid government was the product of a serious compromise between the former ruling white-led Nationalist Party and the African National Congress, resulting in a continuation of the erstwhile system of monopoly capitalism and racial privilege, albeit revised by the presence of a burgeoning Black political and economic elite. The result of this historic compromise is the persistent subjugation and impoverishment of the Black working class by the designs of global capital as under apartheid, this time managed by a Black elite in collaboration with the powerful white capitalist establishment in South Africa.Is Apartheid Really Dead? engages in a comprehensive analysis of the South African conflict and the negotiated settlement of apartheid rule, and explores solutions to the problematic of continued Black oppression and exploitation. Rooted in a Black Consciousness philosophical framework, unlike most other works on post-apartheid South Africa, this book provides a carefully delineated history of the South African struggle from the pre-colonial era through the present. What is additionally distinctive is the author's reference to and discussion of the Pan Africanist movement in the global struggle for Black liberation, highlighting the aftermath of the 1945 Pan African meeting in Manchester. The author analyzes the South African struggle within the context of Pan Africanism and the continent-wide movement to rid Africa of colonialism's legacy, highlighting the neo-colonial character of much of Africa's post-independence nations, arguing that South Africa has followed similar patterns.One of the attractive qualities of this book is that it discusses correctives to the perceived situation of neo-colonialism in South Africa, by delving into issues of gender oppression and the primacy of women's struggle, working class exploitation and Black worker mobilization, environmental despoliation and indigenous religio-cultural responses, and educational disenfranchisement and the need for radically new structures and policies in educational transformation. Ultimately, Is Apartheid Really Dead? postulates revolutionary change as a solution, undergirded with all of the aforementioned ingredients. While anticipating and articulating a revolutionary socialist vision for post-apartheid South Africa, this book is tempered by a realistic appraisal of the dynamics of the global economy and the legacy of colonial oppression and capitalism in South Africa.

During the middle decades of the twentieth century, the production of America's consumer culture was centralized in midtown Manhattan to an extent unparalleled in the history of the modern United States. Within a few square miles of skyscrapers were the headquarters of networks like NBC and CBS, the editorial offices of book publishers and mass circulation magazines such as Time and Life, numerous influential newspapers, and major advertising agencies on Madison Avenue. Every day tens of thousands of writers, editors, artists, performers, technicians, secretaries, and other white-collar workers made advertisements, produced media content, and enhanced the appearance of goods in order to boost sales. While this center of creativity has often been portrayed as a smoothly running machine, within these offices many white-collar workers challenged the managers and executives who directed their labors. In this definitive history, The Making of the American Creative Class examines these workers and their industries throughout the twentieth century. As manufacturers and retailers competed to attract consumers' attention, their advertising expenditures financed the growth of enterprises engaged in the production of culture, which in turn provided employment for an increasing number of clerical, technical, professional, and creative workers. The book explores employees' efforts to improve their working conditions by forming unions, experimenting with alternative media and cultural endeavors supported by public, labor, or cooperative patronage, and expanding their opportunities for creative autonomy. As blacklisting and attacks on militant unions left them destroyed or weakened, workers in advertising, design, publishing, and broadcasting in the late twentieth century were constrained in their ability to respond to economic dislocations and to combat discrimination in the culture industries. At once a portrait of a city and the national culture of consumer capitalism it has produced, The Making of the American Creative Class is an innovative narrative of modern American history that addresses issues of earnings and status still experienced by today's culture workers.

It is the end of the First World War, and thirteen-year-old Meredith yearns to become a teacher. But she must leave school to help support her family, moving to the city to work as a maid in a wealthy doctor's home. As the deadly Spanish Flu sweeps across the city, members of the household fall ill one by one. With the doctor working night and day at the hospital, only Meredith and the doctor's children, Maggie and Jack, are left to care for them. Every day the newspapers' lists of "Yesterday's Dead" add to Meredith's growing fears. When Jack becomes gravely ill, Meredith must stop fighting with Maggie so they can work together to save him. As Meredith wrestles with questions of duty and responsibility, she opens the door to a future that she thought had been closed forever.