Comrade

When people say “comrade,” they change the world In the twentieth century, millions of people across the globe addressed each other as “comrade.” Now, among the left, it’s more common to hear talk of “allies.” In Comrade, Jodi Dean insists that this shift exemplifies the key problem with the contemporary left: the substitution of political identity for a relationship of political belonging that must be built, sustained, and defended. Dean offers a theory of the comrade. Comrades are equals on the same side of a political struggle. Voluntarily coming together in the struggle for justice, their relationship is characterized by discipline, joy, courage, and enthusiasm. Considering the egalitarianism of the comrade in light of differences of race and gender, Dean draws from an array of historical and literary examples such as Harry Haywood, C.L.R. James, Alexandra Kollontai, and Doris Lessing. She argues that if we are to be a left at all, we have to be comrades.

The evolution of the famed socialist, Rosa Luxemberg's political thought and her struggle to reconcile her political career with her domestic desires can be traced in this volume of letters written to her political partner and lover, Leo Jogiches.

A tale, never before told, of anarchy, cooperation, and betrayal at the margins of the Mexican revolution. In this long-awaited book, Claudio Lomnitz tells a groundbreaking story about the experiences and ideology of American and Mexican revolutionary collaborators of the Mexican anarchist Ricardo Flores Magón. Drawing on extensive research in Mexico and the United States, Lomnitz explores the rich, complicated, and virtually unknown lives of Flores Magón and his comrades devoted to the “Mexican Cause.” This anthropological history of anarchy, cooperation, and betrayal seeks to capture the experience of dedicated militants who themselves struggled to understand their role and place at the margins of the Mexican Revolution. For them, the revolution was untranslatable, a pure but deaf subversion: La revolución es la revolución—“The Revolution is the Revolution.” For Lomnitz, the experiences of Flores Magón and his comrades reveal the meaning of this phrase. The Return of Comrade Ricardo Flores Magón tracks the lives of John Kenneth Turner, Ethel Duffy, Elizabeth Trowbridge, Ricardo Flores Magón, Lázaro Gutiérrez de Lara, and others, to illuminate the reciprocal relationship between personal and collective ideology and action. It is an epic and tragic tale, never before told, about camaraderie and disillusionment in the first transnational grassroots political movement to span the U.S.-Mexican border. The Return of Comrade Ricardo Flores Magón will change not only how we think about the Mexican Revolution but also how we understand revolutionary action and passion.

More in love with the alluring properties of cement than he is with his girlfriend, Frunz’s overriding ambition is to become the next legendary architect. If only life was that simple. His father, known as Mr. Cement, is a builder in bed with the autocrats who run Yerevan, the capital of post-Soviet Armenia. As father and son team up to transform the city into a post-modern mecca of Trumpian high-rises, outraged citizens rise up in Revolution against them and Yerevan’s corrupt regime. Will Frunz and his father realize their architectural dreams or come crashing down to Earth in the chaos of the Revolution? Written by Viken Berberian with his signature originality and verve and drawn with audacious compositions, delirious colors, and a kinetic expressionistic technique by the acclaimed painter and illustrator Yann Kebbi, The Structure is Rotten, Comrade is a formally innovative and politically resonant work, by turns prescient, punchy, cautionary, and fearless.

The stories in 'Yes, Comrade!' communicate a sense of the atmosphere in a city occupied by rival nationalistic factions and a colonial power. The political center of consciousness is clearly the revolutionary MPLA (Popular Movement for the Liberation of Angola), which won the struggle in the political and military arena. Using immediate events as well as cultural and linguistic codes, Rui brilliantly explores the ramifications of political independence and nationstate formation.

In this much-lauded memoir, acclaimed for its blend of literary elegance and political passion, Rossana Rossanda, a legendary figure on the Italian left, reflects on a life of radical commitment. Active as a communist militant in the Italian Resistance against fascism during World War Two, Rossanda rose rapidly in its aftermath, becoming editor of the Communist Party weekly paper and a member of parliament. Initially a party loyalist, she was critical of the party’s conservatism in the face of new radical movements and moved into opposition during the late 1960s. The breach widened after she and others publicly opposed the Soviet invasion of Czechoslovakia, and were expelled in 1969. She went on to help found the influential paper il manifesto, which remains the most critical daily in Berlusconi's Italy. Her unique experience enables her to reconstruct that period with flair and authority. She paints a revealing picture of fascism, communism, post-war reconstruction and the revolts that shook Europe in the 1960s. In The Comrade from Milan, one of the most influential intellectuals of the European Left relives the storms of the twentieth century. Both cool-headed and precise, Rossanda provides a rare insight into what it once meant to be politically engaged.

The automobile and Soviet communism made an odd couple. The quintessential symbol of American economic might and consumerism never achieved iconic status as an engine of Communist progress, in part because it posed an awkward challenge to some basic assumptions of Soviet ideology and practice. In this rich and often witty book, Lewis H. Siegelbaum recounts the life of the Soviet automobile and in the process gives us a fresh perspective on the history and fate of the USSR itself. Based on sources ranging from official state archives to cartoons, car-enthusiast magazines, and popular films, Cars for Comrades takes us from the construction of the huge "Soviet Detroits," emblems of the utopian phase of Soviet planning, to present-day Togliatti, where the fate of Russia's last auto plant hangs in the balance. The large role played by American businessmen and engineers in the checkered history of Soviet automobile manufacture is one of the book's surprises, and the author points up the ironic parallels between the Soviet story and the decline of the American Detroit. In the interwar years, automobile clubs, car magazines, and the popularity of rally races were signs of a nascent Soviet car culture, its growth slowed by the policies of the Stalinist state and by Russia's intractable "roadlessness." In the postwar years cars appeared with greater frequency in songs, movies, novels, and in propaganda that promised to do better than car-crazy America. Ultimately, Siegelbaum shows, the automobile epitomized and exacerbated the contradictions between what Soviet communism encouraged and what it provided. To need a car was a mark of support for industrial goals; to want a car for its own sake was something else entirely. Because Soviet cars were both hard to get and chronically unreliable, and such items as gasoline and spare parts so scarce, owning and maintaining them enmeshed citizens in networks of private, semi-illegal, and ideologically heterodox practices that the state was helpless to combat. Deeply researched and engagingly told, this masterful and entertaining biography of the Soviet automobile provides a new perspective on one of the twentieth century's most iconic—and important—technologies and a novel approach to understanding the history of the Soviet Union itself.

Thank you, our Stalin, for a happy childhood." "Thank you, dear Marshal [Stalin], for our freedom, for our children's happiness, for life." Between the Russian Revolution and the Cold War, Soviet public culture was so dominated by the power of the state that slogans like these appeared routinely in newspapers, on posters, and in government proclamations. In this penetrating historical study, Jeffrey Brooks draws on years of research into the most influential and widely circulated Russian newspapers--including Pravda, Isvestiia, and the army paper Red Star--to explain the origins, the nature, and the effects of this unrelenting idealization of the state, the Communist Party, and the leader. Brooks shows how, beginning with Lenin, the Communists established a state monopoly of the media that absorbed literature, art, and science into a stylized and ritualistic public culture--a form of political performance that became its own reality and excluded other forms of public reflection. He presents and explains scores of self-congratulatory newspaper articles, including tales of Stalin's supposed achievements and virtue, accounts of the country's allegedly dynamic economy, and warnings about the decadence and cruelty of the capitalist West. Brooks pays particular attention to the role of the press in the reconstruction of the Soviet cultural system to meet the Nazi threat during World War II and in the transformation of national identity from its early revolutionary internationalism to the ideology of the Cold War. He concludes that the country's one-sided public discourse and the pervasive idea that citizens owed the leader gratitude for the "gifts" of goods and services led ultimately to the inability of late Soviet Communism to diagnose its own ills, prepare alternative policies, and adjust to new realities. The first historical work to explore the close relationship between language and the implementation of the Stalinist-Leninist program, Thank You, Comrade Stalin! is a compelling account of Soviet public culture as reflected through the country's press.