Blog

Anton Jäger reflects on Paolo Gerbaudo's The Great Recoil, neoliberalism, and the evolving role of the state in the Covid-era

How should the left position itself strategically vis-a-vis liberalism in this new political moment? Carlo Invernizzi Accetti on socialist strategy in Paolo Gerbaudo's The Great Recoil. 

As part of our roundtable on Paolo Gerbaudo's The Great Recoil, Gabriel Hetland writes about populism, sovereignty, and what the US and European lefts can learn from comrades in Latin America.

Introducing the Verso Roundtable on Paolo Gerbaudo's book, The Great Recoil: Politics after Populism and Pandemic

While sci-fi novels are replete with references to climate change, sci-fi cinema leave a lot to be desired in their narration of the effects of the climate crisis. But what if we watch them against the grain? Here, Mark Bould rewatches some recent alien invasion movies to uncover the Anthropocene unconscious at work in them.

Neoliberalism sought to revive capitalism with a seductive, populist culture of differentiated consumerism and individual libertarianism. Steve Jobs made it happen.

Historian of the British New Left Dr Madeleine Davis introduces the online archive of the revolutionary weekly newspaper titled 7 Days.

This October, Verso is hosting a roundtable on Silvia Federici’s incantatory and incendiary Caliban and the Witch: Women, the Body, and Primitive Accumulation (2004), inviting reflections from activists, writers, and scholars to discuss the provocations of Federici’s arguments on capitalism and colonialism, bodies and reproduction, race and slavery—and the powerful figure of the witch.

Jessie Kindig, editor of the Verso Book of Feminism, shares her feminist Halloween selections.

For Žižek, the metaphor of the Matrix represents how neoliberal capitalism colonises culture and subjectivity.

In this excerpt from The Third Unconscious: The Psychosphere in the Viral Age, Franco "Bifo" Berardi discusses the significance of the massive George Floyd protests. Berardi analyzes the conditions of this insurrection as a response both to structural domination, racism, and violence, as well as the alienation of late stage capitalism.

Everything in Bowie’s post-modern art was mutable, but most of all the artist himself.