In the latest issue:
Wolfgang Streeck: The Return of the Repressed
Is the long reign of neo-liberalism coming to an end, struck by the untoward blows of Brexit, Trump and spread of populist insurgencies across Europe, as victims of its pattern of globalization start to find a voice? If so, with no radical alternative yet in sight, is a strange interregnum looming, where ‘everything is possible and nothing consequential’?
Ray Filar interviews the poet Eileen Myles as part of an occasional series about gender on the Verso blog.
Eileen Myles is the only poet I know to have both lived in poverty and run for President of the United States. Trump’s plans to end national funding for the arts are now emerging, alongside his ongoing political assault on marginalised communities in the US: migrants, people of colour, women and queer people. Within this context Myles’ work is a challenge to the idea that art isn’t political.
This essay was delivered as a talk at “Modernism in the Streets: Theory, Practice, and the Marshall Berman Archives”, on March 28, at Columbia University. Modernism in the Streets and all available books by Marshall Berman are 40% off until Saturday April 29th at midnight UTC. Click here to activate your 40% discount.
I will began by talking about Marshall as a political theorist, but my real subject is how he became something else—and, I am inclined to think, something better.
This piece originally appeared in Jacobin. Modernism in the Streets and all available books by Marshall Berman are 40% off until Saturday April 29th at midnight UTC. Click here to activate your 40% discount.
In the early 1990s, when I first met Marshall Berman, he told me he was working on a book called Living for the City — “after the Stevie Wonder song.”