Literature Of Revolution

Literature in Times of Revolution (1927) -- Miscellaneous Thoughts (1927) -- The Divergence of Art and Politics (1928) -- Literature and Revolution: A Reply (1928) -- An Overview of the Present State of New Literature (1929) -- A Glimpse at Shanghai Literature (1931) -- On the "Third Type of Person" (1932) -- The Most Artistic Country (1933) -- The Crisis of the Small Essay (1933) -- V. On Modern Culture -- Impromptu Reflections No. 48 (1919) -- Untitled (1922) -- What Happens after Nora Walks Out (1924) -- On Photography and Related Matters (1925) -- Modern History (1933) -- Lessons from the Movies (1933) -- Shanghai Children (1933) -- How to Train Wild Animals (1933) -- Toys (1934) -- The Glory to Come (1934) -- The Decline of the Western Suit (1934) -- Take-ism (1934) -- Ah Jin (1936) -- Written Deep into the Night (1936) -- Notes -- Lu Xun's Oeuvre -- Acknowledgments -- Illustration Credits -- Index

“Fascinating . . . full of insight and a perceptive portrait of Lenin’s single-mindedness and his relentless, all-consuming drive towards revolution in Russia.” —The Guardian Combining Young Lenin and On Lenin in one volume, this is a fascinating political biography by Lenin’s fellow revolutionary, Leon Trotsky. Trotsky on Lenin brings together two long-out-of-print works in a single volume for the first time, providing an intimate and illuminating portrait of the Bolshevik leader by another of the twentieth century’s greatest revolutionaries. Written shortly after its subject’s death, On Lenin covers the period of revolutionary struggle leading up to 1917 as well as the early years of Bolshevik power. We see a man totally committed to the revolutionary cause, whose legacy was later corrupted under the Soviet Union’s Stalinist degeneration. Young Lenin, meanwhile, describes his early years and conversion to Marxism, dispelling many of the myths later created by Soviet hagiography in the process. This is the essential guide for anyone wanting to understand Lenin as a thinker, active revolutionary, and personality.

Essential essays on key Marxist writers from a leading political thinker Literature of Revolution explores the pivotal texts and topics in the Marxist tradition, drawing on the works of Marx, Trotsky, Luxemburg, Lenin, and Althusser. In close dialogue with common themes and arguments in revolutionary Marxist thought, Geras brings some of his persistent preoccupations to the fore: the relationship between Marxism and justice; the debates on political organization; and the role of revolutionary mass action and party pluralism; as well as an enthralling exploration into the literary power of Trotsky’s writing.

Authors such as Shakespeare, Milton, Thoreau, and Yeats are examined with a new imperative.

Although the impact of works such as Common Sense and The Rights of Man has led historians to study Thomas Paine's role in the American Revolution and political scientists to evaluate his contributions to political theory, scholars have tacitly agreed not to treat him as a literary figure. This book not only redresses this omission, but also demonstrates that Paine's literary sensibility is particularly evident in the very texts that confirmed his importance as a theorist. And yet, because of this association with the 'masses', Paine is often dismissed as a mere propagandist. Thomas Paine and the Literature of Revolution recovers Paine as a transatlantic popular intellectual who would translate the major political theories of the eighteenth century into a language that was accessible and appealing to ordinary citizens on both sides of the Atlantic.

Literature and Revolution, written by the founder and commander of the Red Army, Leon Trotsky, in 1924 and first published in 1925, represents a compilation of essays that Trotsky drafted during the summers of 1922 and 1923. This book is a classic work of literary criticism from the Marxist standpoint. By discussing the various literary trends that were around in Russia between the revolutions of 1905 and 1917, Trotsky analyses the concrete forces in society, both progressive as well as reactionary, that helped shape the consciousness of writers at the time. In the book, Trotsky also explains that since the dawn of civilisation art had always borne the stamp of the ruling class and was primarily a vehicle that expressed its tastes and its sensibilities. “It is difficult to predict the extent of self-government which the man of the future may reach or the heights to which he may carry his technique. Social construction and psycho-physical self-education will become two aspects of one and the same process. All the arts—literature, drama, painting, music and architecture will lend this process beautiful form. More correctly, the shell in which the cultural construction and self-education of Communist man will be enclosed, will develop all the vital elements of contemporary art to the highest point. Man will become immeasurably stronger, wiser and subtler; his body will become more harmonized, his movements more rhythmic, his voice more musical. The forms of life will become dynamically dramatic. The average human type will rise to the heights of an Aristotle, a Goethe, or a Marx. And above this ridge new peaks will rise.”—Leon Trotsky