Miroslav Krleža was a giant of Yugoslav literature, yet remarkably little of his writing has appeared in English. In a body of work that spans more than five dozen books, including novels, short stories, plays, poetry, and essays, Krleža steadfastly pursued a radical humanism and artistic integrity. Harbors Rich in Ships gives English-speaking readers an unprecedented opportunity to appreciate the astonishing breadth of Krleža’s literary creations. Beautifully translated by Željko Cipriš, this collection of seven representative early texts introduces a new audience to three stories from Krleža’s renowned antimilitarist book, The Croatian God Mars; an autobiographical sketch; a one-act play; a story from his collection of short stories, One Thousand and One Deaths; and his signature drama, The Glembays, a satirical account of the crime-ridden origins of one of Zageb’s most aristocratic families. | more…
Timothy Sheard, the Lenny Moss mystery series (New York: Hardball).
At its best, the art of fiction reveals the underlying truth of human relations: we are communal and collaborative by nature. Selfishness and greed are social aberrations because, ultimately, they violate the principle of self-preservation. No wonder we are drawn to crime stories: they mirror our common experience. Capitalism is high crime disguised as church doctrine. Conspiracy is evident, though the evidence is concealed. Hence, our fascination with the detective genre. We are in dire need of Timothy Sheard’s scrutiny—a detective who peers through a working-class eyeglass. | more…
Any human power can be resisted and changed by human beings.
—Ursula K. Le Guin
Le Guin is undoubtedly right about resistance in the “real” world, but in reading, only some books offer a call to resistance and the possibilities of a new reality. Among the books considered here, some come to us as “literary fiction”; others are marked as belonging to another, historically denigrated, form, “science fiction” or “fantasy.” This could be a distinction without a difference: two are near-future dystopian novels about corporate capitalism in the United States (both by well-established white authors); two are collections of near-future short stories that set out to critique the human powers that structure our world (written by both established and new voices, primarily writers of color). But the books that embrace rather than evade their status as science fiction or fantasy are the ones able to imagine the resistance and change that Le Guin invokes. | more…
Among a number of contemporary science and speculative fiction writers who identify as left-wing, China Miéville stands out, not only for the quality of his literary production, but also for the critical character of his political commitment, dedicated equally to socialism and to fantasy. In addition to his fictive works, he has written articles and given lectures on the nature and value of speculative and fantasy fiction; edited a collection of essays on Marxism and fantasy in an issue of the journal Historical Materialism; and, not least, published a list of “Fifty Sci-Fi and Fantasy Works Every Socialist Should Read.” I wish to discuss here the form and thematics of the early novels known (after the alternate world in which they are set) as the Bas-Lag trilogy—which remains, if you take it as a single work, his most ambitious and memorable achievement. But since Miéville is a serious critic and advocate of fantasy fiction, I will approach the books with a brief discussion of his aesthetic positions and program, gathered from essays and talks as well as from his literary works. | more…
In early 1917, as Britain was bogged down in a war it feared would never end, Alice Wheeldon, her two daughters, and her son were brought to trial and imprisoned for plotting the assassination of Prime Minister Lloyd George, who they believed had betrayed the suffrage movement. In this highly evocative and haunting play, British historian and feminist Sheila Rowbotham illuminates the lives and struggles of those who opposed the war. The Wheeldons’ controversial trial became something of a cause célèbre—a show trial at the height of the First World War—based on fabricated evidence from a criminally insane fantasist, “Alex Gordon,” who was working for an undercover intelligence agency. It was a travesty of justice. Friends of Alice Wheeldon is combined here with Rowbotham’s extended essay, “Rebel Networks in the First World War,” that gives a historical overview of the political and social forces that converged upon the Wheeldon family and friends. | more…
Marsh identifies four sources for our contemporary malaise (death, money, sex, democracy) and then looks to a particular Whitman poem for relief from it. He makes plain what, exactly, Whitman wrote and what he believed by showing how they emerged from Whitman’s life and times, and by recreating the places and incidents (crossing Brooklyn ferry, visiting wounded soldiers in hospitals) that inspired Whitman to write the poems. Whitman, Marsh argues, can show us how to die, how to accept and even celebrate our (relatively speaking) imminent death. Just as important, though, he can show us how to live: how to have better sex, what to do about money, and, best of all, how to survive our fetid democracy without coming away stinking ourselves. The result is a mix of biography, literary criticism, manifesto, and a kind of self-help you’re unlikely to encounter anywhere else. | more…
In the many accolades Pete Seeger received…after his death, there was often something missing—as absent in tributes from admirers who share his revolutionary politics as in those aiming to reclaim him for respectability. That absence is Seeger’s role as an organizer, and, more broadly, the role of music (and other kinds of cultural work) as organizing, which his life exemplifies.… Seeger’s work as an organizer may have been most obvious, its goals most blatant, in the field…. But his work, as a singer, as a song-collector, as a song-teacher, was not any less a labor of organizing in the concert hall. And that’s not exceptional. That…is what makes someone a radical cultural worker. What’s exemplary about Pete Seeger is how damn good at it he was. What we need to pay attention to and learn from is how he did this important work so well. | more…
I attended Camp Woodland, a progressive summer camp in upstate New York, for four summers starting in 1955 when I was ten years old. When Pete died last year, it was my fellow Camp Woodlanders that I most wanted to connect with.… Fortunately, a camp reunion in 2012 had revived many old friendships. “Pete’s music was the soundtrack to our lives,” one former camper reminisced on the camp listserv. “Pete modeled our values and transformed how we lived in the world, just like at camp,” another wrote. | more…
Barbara Kingsolver, Flight Behavior (New York: HarperCollins, 2012), 464 pages, $16.99, paperback.
Life is no crystal staircase for Dellarobia, the main character in Barbara Kingsolver’s novel Flight Behavior. It is a stirring read, but not as much as her 1998 novel The Poisonwood Bible, a powerful female-centric story set in the Belgian Congo.… In Flight Behavior, Dellarobia is rearing two small kids in a low-income household, and living in the “right-to-work” (at low pay) state of Tennessee. She is alienated from herself, her husband, and especially her mother-in-law. In an era of U.S. working-class demobilization, Dellarobia is adrift in a loveless marriage. She and her husband Cub married young and became parents before fully getting to know each other.… Dellarobia’s angst develops within monopoly-finance capitalism. Kingsolver, like Emily Dickinson before her, shows and tells the story slant. | more…
Cao Zhenglu is a well-known contemporary Chinese realist writer. His stories “Na’er” (“There,” about the tragic experience of a union cadre in a state-owned enterprise undergoing “structural reform”) and “Nihong” (“Neon,” about the life and death of a laid-off woman worker) expose the predicament of Chinese workers in the reform period. His novel Wen cangmang (Asking the Boundless—an allusion to a line from one of Mao’s poems, “I ask, on this boundless land, who rules over man’s destiny”) has a Taiwanese-owned factory in Shenzhen as the central theater, around which different characters struggle to understand and play their roles in the larger context of “investment.” This novel has been celebrated as “the first novel that uses Chinese reality to explain Das Kapital.” His most recent novel, Minzhu ke (Lessons in Democracy [Taipei: Taiwan shehui yanjiu zazhishe, 2013]), initiates a further reflection on the Cultural Revolution. Cao’s novel re-narrates the Cultural Revolution in terms of its historical unfolding—its aims, processes, contradictions, and significance, and links this story with the contemporary problem of China’s path today.
Once you were children. If you did not read The Carrot Seed or Harold and the Purple Crayon, probably your children or your friends’ children did. You might have learned internationalism from The Big World and the Little House, or cultural relativism from Who’s Upside Down?, or freethinking and obstinacy from Barnaby. If you did not, it is likely your friends and future comrades did. What you might not have learned is that all these children’s books (and many other progressive favorites) were authored by one or the other or both members of a couple whose left politics inflected their work.… Philip Nel—the editor, with Julia L. Mickenberg, of Tales for Little Rebels: A Collection of Radical Children’s Literature…—has devoted himself to rescuing twentieth-century radical children’s literature and its authors from relative oblivion. | more…
This is an abridged version of an article by the same title published in Review1, launched in 1965 as Monthly Review‘s literary supplement. Eleanor Hakim was the managing editor of Studies on the Left in its first few years. At the time she wrote this article she was teaching at the New School for Social Research in New York City. Her essay dealt with Brecht’s theory of the subversive role of the artist in confronting what he conceived as the “cultural apparatus”and how this affected his theory of epic theater. Hakim was particularly concerned with demonstrating that Brecht’s critical outlook was confirmed by the way that, after his death, the U.S. cultural apparatus (“the theatrical stock exchange” of her title) was manipulating and de-radicalizing his drama. In this context, she drew out the significance of Brecht’s revolutionary humanism.… —Eds.
