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DTSTART;TZID=America/Halifax:20210318T140000
DTEND;TZID=America/Halifax:20210318T160000
DTSTAMP:20260619T081028
CREATED:20210205T233914Z
LAST-MODIFIED:20210205T233914Z
UID:10006874-1616076000-1616083200@marxedproject.org
SUMMARY:150th Anniversary of the Paris Commune
DESCRIPTION:Reading and discussion with Mitch Abidor\nEditor and translator of Voices of the Paris Commune and Communards \n This year marks the 150th anniversary of the Paris Commune\, the first time in history that the working class seized power. Please join us on March 18 –the date the uprising began – as Mitch Abidor\, editor and translator of two books on the fighters in the 1871 uprising\, Communards and Voices of the Paris Commune\, recounts what happened over the 71 days that followed\, in all its complexity\, both its heroism and its failings\, as well as its role as inspiration with lessons for the movements that followed in its footsteps. \nVoices of The Paris Commune (PM Press): The Paris Commune had a vibrant press\, and it is represented here by its most important newspaper\, Le Cri du Peuple\, edited by Jules Vallès\, member of the First International. Like any legitimate government\, the Paris Commune held parliamentary sessions and issued daily printed reports of the heated\, contentious deliberations that belie any accusation of dictatorship. Included in this collection is the transcript of the debate in the Commune\, just days before its final defeat\, on the establishing of a Committee of Public Safety and on the fate of the hostages held by the Commune\, hostages who would ultimately be killed. Finally\, Voices of the Paris Commune contains a selection from the inquiry carried out twenty years after the event by the intellectual review La Revue Blanche\, asking participants to judge the successes and failures of the Paris Commune. This section provides a fascinating range of opinions of this epochal event. \nCommunards (marxists.org): In this unique collection of texts we hear the genuine voices of the Paris Commune of 1871. Every Communard drew something different from the experience of the Commune\, and Communards allows all of them to have their say. Documents include the records of stormy meetings of the Commune deciding on the execution of hostages\, minutes of meetings of the First International throughout the siege\, as well as reminiscences of participants written down 25 years after the event. \nCommunards is available at https://www.marxists.org/admin/books/index.htm \n“If socialism wasn’t born of the Commune\, it is from the Commune that dates that portion of international revolution that no longer wants to give battle in a city in order to be surrounded and crushed\, but which instead wants\, at the head of the proletarians of each and every country\, to attack national and international reaction and put an end to the capitalist regime.” —Edouard Vaillant\, a member of the Paris Commune. \nMitch Abidor has published over a dozen volumes of translation\, as well as May Made Me\, an oral history of May ’68. A contributing writer for Jewish Currents\, his articles have also appeared in the New York Times\, the New York Review of Books\, Dissent\, and many others. His I’ll Forget it When I Die: The Bisbee Deportation of 1917 will be published by AK in the spring. \n  \nall events are sliding scale. No one is denied admission because of an inability to pay. Please write info@marxedproject.org for admission to this or any other event or class.
URL:https://marxedproject.org/event/150th-anniversary-of-the-paris-commune/
LOCATION:Online Event – Zoom Meeting
CATEGORIES:Class,Class and Gender,Classes/Events,Intro to Marxism,Political Economy,Science and Method,Seminars and Talks
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2021/02/CommuneProclaimedSm.jpg
ORGANIZER;CN="The Revolutions Study Group":MAILTO:info@marxedproject.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190919T180000
DTEND;TZID=America/Halifax:20190919T193000
DTSTAMP:20260619T081028
CREATED:20190602T172248Z
LAST-MODIFIED:20190602T172248Z
UID:10006618-1568916000-1568921400@marxedproject.org
SUMMARY:Les Temps Modernes: The Early Decades
DESCRIPTION:2 sessions with Mitch Abidor\n \nLes Temps Modernes\, founded by Sartre and Beauvoir in 1945\, ceased publication in December 2018. It had been one of the most prestigious intellectual\, political\, and cultural journals in the world\, in its heyday between 1945-1975 setting the terms of intellectual debate all over the world. \nThis class will examine the first decades of its existence\, when such important works as Sartre’s What is Literature appeared in it\, as well as the first installments of Beauvoir’s The Second Sex. It will focus on its political positions\, as Sartre first attempted to set up a third-way party\, became a fellow-traveler of the PCF (publishing The Communists and Peace)\, then rejected working with the Communists (publishing The Ghost of Stalin). It will trace the journal and its editors’ commitment to anti-colonialism\, particularity its courageous work in support of the Algerian FLN. Its role during May 68 and its aftermath will be examined\, as Les Temps Modernes espoused the cause of the Maoists and the far left all over the world. Finally\, it will look at its position on the conflict in the Middle East\, about which Les Temps Modernes published a 1000 page issue. \nMitch Abidor has published over a dozen volumes of translation\, including a collection of Victor Serge’s anarchist writings\, Anarchists Never Surrender. His writings have appeared in the New York Times\, The New York Review of Books\, The Paris Review\, and Cineaste. Mitch has been translated into German and Turkish. He is currently writing a history of the Bisbee Deportation of 1917. \n  \nThis is a two week course. Fees below are suggested and are sliding scale. No one is turned away for inability to pay.
URL:https://marxedproject.org/event/les-temps-modernes-the-early-decades/2019-09-19/
LOCATION:United States
CATEGORIES:Classes/Events
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/06/SartreBeauvoirVians1952.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190912T180000
DTEND;TZID=America/Halifax:20190912T193000
DTSTAMP:20260619T081028
CREATED:20190602T172248Z
LAST-MODIFIED:20190602T172248Z
UID:10006617-1568311200-1568316600@marxedproject.org
SUMMARY:Les Temps Modernes: The Early Decades
DESCRIPTION:2 sessions with Mitch Abidor\n \nLes Temps Modernes\, founded by Sartre and Beauvoir in 1945\, ceased publication in December 2018. It had been one of the most prestigious intellectual\, political\, and cultural journals in the world\, in its heyday between 1945-1975 setting the terms of intellectual debate all over the world. \nThis class will examine the first decades of its existence\, when such important works as Sartre’s What is Literature appeared in it\, as well as the first installments of Beauvoir’s The Second Sex. It will focus on its political positions\, as Sartre first attempted to set up a third-way party\, became a fellow-traveler of the PCF (publishing The Communists and Peace)\, then rejected working with the Communists (publishing The Ghost of Stalin). It will trace the journal and its editors’ commitment to anti-colonialism\, particularity its courageous work in support of the Algerian FLN. Its role during May 68 and its aftermath will be examined\, as Les Temps Modernes espoused the cause of the Maoists and the far left all over the world. Finally\, it will look at its position on the conflict in the Middle East\, about which Les Temps Modernes published a 1000 page issue. \nMitch Abidor has published over a dozen volumes of translation\, including a collection of Victor Serge’s anarchist writings\, Anarchists Never Surrender. His writings have appeared in the New York Times\, The New York Review of Books\, The Paris Review\, and Cineaste. Mitch has been translated into German and Turkish. He is currently writing a history of the Bisbee Deportation of 1917. \n  \nThis is a two week course. Fees below are suggested and are sliding scale. No one is turned away for inability to pay.
URL:https://marxedproject.org/event/les-temps-modernes-the-early-decades/2019-09-12/
LOCATION:United States
CATEGORIES:Classes/Events
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/06/SartreBeauvoirVians1952.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190627T193000
DTEND;TZID=America/Halifax:20190627T213000
DTSTAMP:20260619T081028
CREATED:20190320T140344Z
LAST-MODIFIED:20190419T050329Z
UID:10006038-1561663800-1561671000@marxedproject.org
SUMMARY:A Spring Fever of World Literature
DESCRIPTION:A Spring Fever of World Literature\n“The progression from a critical reading of literature to an expansive conception of politics proved not only increasingly persuasive intellectually\, but also compelling.” – Stuart Hall\, Familiar Stranger\nLooking at the last century through the lens of literature (and what it tell us about the present moment and those moments that are soon to come). \nG. by John Berger (UK)\nThe Last Days of New Paris by China Miéville (UK)\nThe God of Small Things by Arundhati Roy (India)\nGraceLand by Chris Abani (Nigeria) \n“Only in fiction can we share another person’s specific experiences. Outside fiction we have to generalize.” — John Berger\, The Success and Failure of Picasso \n“…when I write my novels\, I’m not writing them to make political points. I’m writing them because I passionately love monsters and the weird and horror stories and strange situations and surrealism\, and what I want to do is communicate that. But\, because I come at this with a political perspective\, the world that I’m creating is embedded with many of the concerns that I have. […] I’m trying to say I’ve invented this world that I think is really cool and I have these really big stories to tell in it and one of the ways that I find to make that interesting is to think about it politically. If you want to do that too\, that’s fantastic. But if not\, isn’t this a cool monster?” — China Miéville \n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.”— Arundhati Roy\, The God of Small Things \nG.\nBerger sets the story of G. against the turbulent backdrop of Garibaldi and the failed revolution of Milanese workers in 1898\, the Boer War\, and the first flight across the Alps\, making G. a brilliant novel about the search for intimacy in history’s private moments. \nGiovanni – G – the product of an Italian merchant’s adulterous fling is sent to cousins on a farm in England\, where a piano-playing governess awakens the lust that proves the keynote in a series of fragmented episodes set during the years before the first world war – a prospect G relishes on account of all the women it will widow. \nThe Last Days of New Paris\nChina Miéville\n1941. In the chaos of wartime Marseille\, American engineer—and occult disciple—Jack Parsons stumbles onto a clandestine anti-Nazi group\, including Surrealist theorist André Breton. In the strange games of the dissident diplomats\, exiled revolutionaries\, and avant-garde artists\, Parsons finds and channels hope. But what he unwittingly unleashes is the power of dreams and nightmares\, changing the war and the world forever. \n“So there I am\, wondering what to do\, and I see you\, and I see what you’re carrying. And that is why I came running after you. Because I do not believe in coincidence.”  \n1950. A lone Surrealist fighter\, Thibaut\, walks a new\, hallucinogenic Paris\, where Nazis and the Resistance are trapped in unending conflict\, and the streets are stalked by living images and texts—and by the forces of Hell. To escape the city\, he must join forces with Sam\, an American photographer intent on recording the ruins\, and make common cause with a powerful\, enigmatic figure of chance and rebellion: the exquisite corpse. \nThe God of Small Things\nArundathi Roy\n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.” \nIn addition to commentary on Indian history and politics\, Roy evaluates the Indian post-colonial complex\, or the cultural attitudes of many Indians toward their former British rulers. After Ammu calls her father a “[shit]-wiper” in Hindi for his blind devotion to the British\, Chacko explains to the twins Rahel and Estha\, that they come from a family of Anglophiles\, or lovers of British culture\, “trapped outside their own history and unable to retrace their steps.” He goes on to say that they despise themselves because of this. Nearly all of the relationships in the novel are somehow colored by cultural and class tension. \nGraceLand\nChris Abani\nGraceLand is a 2004 novel by Chris Abani\, which tells the story of a teenager named Elvis\, who is trying to get out of the ghettos of Lagos\, Nigeria. Chris Abani depicts the poverty and violence in Lagos and how it affects the everyday lives of Elvis and his family. Having emigrated from Nigeria himself as a result of the Biafran War\, Abani’s novel touches on many issues relevant to corruption\, poverty\, and violence within the country. Elvis’s story also touches on issues related to globalization\, and how Nigeria’s impoverished communities are affected by this phenomenon. The main focus of this story is on Elvis and how he survives in the often harsh environment that is Nigeria’s largest city; Elvis himself is a complex and sympathetic character who clearly cares for his family despite a turbulent upbringing. However\, this is complicated by the numerous illegal and morally questionable jobs he takes part in with his friend Redemption. \n “The rain had cleared the oppressive heat that had already dropped like a blanket over Lagos; but the smell of garbage from refuse dumps\, unflushed toilets and stale bodies was still overwhelming. Elvis turned from the window\, dropping the threadbare curtain. Today was his sixteenth birthday\, and as with all the others\, it would pass uncelebrated. It had been that way since his mother died eight years before. He used to think that celebrating his birthday was too painful for his father\, a constant reminder of his loss. But Elvis had since come to the conclusion that his father was simply self-centered. The least I should do is get some more sleep\, he thought\, sitting on the bed. But the sun stabbed through the thin fabric\, bathing the room in sterile light. The radio played Bob Marley….”
URL:https://marxedproject.org/event/a-spring-fever-of-world-literature/2019-06-27/
LOCATION:United States
CATEGORIES:Classes/Events
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/03/Spring19Books_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190620T193000
DTEND;TZID=America/Halifax:20190620T213000
DTSTAMP:20260619T081028
CREATED:20190320T140344Z
LAST-MODIFIED:20190419T050329Z
UID:10006037-1561059000-1561066200@marxedproject.org
SUMMARY:A Spring Fever of World Literature
DESCRIPTION:A Spring Fever of World Literature\n“The progression from a critical reading of literature to an expansive conception of politics proved not only increasingly persuasive intellectually\, but also compelling.” – Stuart Hall\, Familiar Stranger\nLooking at the last century through the lens of literature (and what it tell us about the present moment and those moments that are soon to come). \nG. by John Berger (UK)\nThe Last Days of New Paris by China Miéville (UK)\nThe God of Small Things by Arundhati Roy (India)\nGraceLand by Chris Abani (Nigeria) \n“Only in fiction can we share another person’s specific experiences. Outside fiction we have to generalize.” — John Berger\, The Success and Failure of Picasso \n“…when I write my novels\, I’m not writing them to make political points. I’m writing them because I passionately love monsters and the weird and horror stories and strange situations and surrealism\, and what I want to do is communicate that. But\, because I come at this with a political perspective\, the world that I’m creating is embedded with many of the concerns that I have. […] I’m trying to say I’ve invented this world that I think is really cool and I have these really big stories to tell in it and one of the ways that I find to make that interesting is to think about it politically. If you want to do that too\, that’s fantastic. But if not\, isn’t this a cool monster?” — China Miéville \n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.”— Arundhati Roy\, The God of Small Things \nG.\nBerger sets the story of G. against the turbulent backdrop of Garibaldi and the failed revolution of Milanese workers in 1898\, the Boer War\, and the first flight across the Alps\, making G. a brilliant novel about the search for intimacy in history’s private moments. \nGiovanni – G – the product of an Italian merchant’s adulterous fling is sent to cousins on a farm in England\, where a piano-playing governess awakens the lust that proves the keynote in a series of fragmented episodes set during the years before the first world war – a prospect G relishes on account of all the women it will widow. \nThe Last Days of New Paris\nChina Miéville\n1941. In the chaos of wartime Marseille\, American engineer—and occult disciple—Jack Parsons stumbles onto a clandestine anti-Nazi group\, including Surrealist theorist André Breton. In the strange games of the dissident diplomats\, exiled revolutionaries\, and avant-garde artists\, Parsons finds and channels hope. But what he unwittingly unleashes is the power of dreams and nightmares\, changing the war and the world forever. \n“So there I am\, wondering what to do\, and I see you\, and I see what you’re carrying. And that is why I came running after you. Because I do not believe in coincidence.”  \n1950. A lone Surrealist fighter\, Thibaut\, walks a new\, hallucinogenic Paris\, where Nazis and the Resistance are trapped in unending conflict\, and the streets are stalked by living images and texts—and by the forces of Hell. To escape the city\, he must join forces with Sam\, an American photographer intent on recording the ruins\, and make common cause with a powerful\, enigmatic figure of chance and rebellion: the exquisite corpse. \nThe God of Small Things\nArundathi Roy\n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.” \nIn addition to commentary on Indian history and politics\, Roy evaluates the Indian post-colonial complex\, or the cultural attitudes of many Indians toward their former British rulers. After Ammu calls her father a “[shit]-wiper” in Hindi for his blind devotion to the British\, Chacko explains to the twins Rahel and Estha\, that they come from a family of Anglophiles\, or lovers of British culture\, “trapped outside their own history and unable to retrace their steps.” He goes on to say that they despise themselves because of this. Nearly all of the relationships in the novel are somehow colored by cultural and class tension. \nGraceLand\nChris Abani\nGraceLand is a 2004 novel by Chris Abani\, which tells the story of a teenager named Elvis\, who is trying to get out of the ghettos of Lagos\, Nigeria. Chris Abani depicts the poverty and violence in Lagos and how it affects the everyday lives of Elvis and his family. Having emigrated from Nigeria himself as a result of the Biafran War\, Abani’s novel touches on many issues relevant to corruption\, poverty\, and violence within the country. Elvis’s story also touches on issues related to globalization\, and how Nigeria’s impoverished communities are affected by this phenomenon. The main focus of this story is on Elvis and how he survives in the often harsh environment that is Nigeria’s largest city; Elvis himself is a complex and sympathetic character who clearly cares for his family despite a turbulent upbringing. However\, this is complicated by the numerous illegal and morally questionable jobs he takes part in with his friend Redemption. \n “The rain had cleared the oppressive heat that had already dropped like a blanket over Lagos; but the smell of garbage from refuse dumps\, unflushed toilets and stale bodies was still overwhelming. Elvis turned from the window\, dropping the threadbare curtain. Today was his sixteenth birthday\, and as with all the others\, it would pass uncelebrated. It had been that way since his mother died eight years before. He used to think that celebrating his birthday was too painful for his father\, a constant reminder of his loss. But Elvis had since come to the conclusion that his father was simply self-centered. The least I should do is get some more sleep\, he thought\, sitting on the bed. But the sun stabbed through the thin fabric\, bathing the room in sterile light. The radio played Bob Marley….”
URL:https://marxedproject.org/event/a-spring-fever-of-world-literature/2019-06-20/
LOCATION:United States
CATEGORIES:Classes/Events
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/03/Spring19Books_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190613T193000
DTEND;TZID=America/Halifax:20190613T213000
DTSTAMP:20260619T081028
CREATED:20190320T140344Z
LAST-MODIFIED:20190419T050329Z
UID:10006036-1560454200-1560461400@marxedproject.org
SUMMARY:A Spring Fever of World Literature
DESCRIPTION:A Spring Fever of World Literature\n“The progression from a critical reading of literature to an expansive conception of politics proved not only increasingly persuasive intellectually\, but also compelling.” – Stuart Hall\, Familiar Stranger\nLooking at the last century through the lens of literature (and what it tell us about the present moment and those moments that are soon to come). \nG. by John Berger (UK)\nThe Last Days of New Paris by China Miéville (UK)\nThe God of Small Things by Arundhati Roy (India)\nGraceLand by Chris Abani (Nigeria) \n“Only in fiction can we share another person’s specific experiences. Outside fiction we have to generalize.” — John Berger\, The Success and Failure of Picasso \n“…when I write my novels\, I’m not writing them to make political points. I’m writing them because I passionately love monsters and the weird and horror stories and strange situations and surrealism\, and what I want to do is communicate that. But\, because I come at this with a political perspective\, the world that I’m creating is embedded with many of the concerns that I have. […] I’m trying to say I’ve invented this world that I think is really cool and I have these really big stories to tell in it and one of the ways that I find to make that interesting is to think about it politically. If you want to do that too\, that’s fantastic. But if not\, isn’t this a cool monster?” — China Miéville \n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.”— Arundhati Roy\, The God of Small Things \nG.\nBerger sets the story of G. against the turbulent backdrop of Garibaldi and the failed revolution of Milanese workers in 1898\, the Boer War\, and the first flight across the Alps\, making G. a brilliant novel about the search for intimacy in history’s private moments. \nGiovanni – G – the product of an Italian merchant’s adulterous fling is sent to cousins on a farm in England\, where a piano-playing governess awakens the lust that proves the keynote in a series of fragmented episodes set during the years before the first world war – a prospect G relishes on account of all the women it will widow. \nThe Last Days of New Paris\nChina Miéville\n1941. In the chaos of wartime Marseille\, American engineer—and occult disciple—Jack Parsons stumbles onto a clandestine anti-Nazi group\, including Surrealist theorist André Breton. In the strange games of the dissident diplomats\, exiled revolutionaries\, and avant-garde artists\, Parsons finds and channels hope. But what he unwittingly unleashes is the power of dreams and nightmares\, changing the war and the world forever. \n“So there I am\, wondering what to do\, and I see you\, and I see what you’re carrying. And that is why I came running after you. Because I do not believe in coincidence.”  \n1950. A lone Surrealist fighter\, Thibaut\, walks a new\, hallucinogenic Paris\, where Nazis and the Resistance are trapped in unending conflict\, and the streets are stalked by living images and texts—and by the forces of Hell. To escape the city\, he must join forces with Sam\, an American photographer intent on recording the ruins\, and make common cause with a powerful\, enigmatic figure of chance and rebellion: the exquisite corpse. \nThe God of Small Things\nArundathi Roy\n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.” \nIn addition to commentary on Indian history and politics\, Roy evaluates the Indian post-colonial complex\, or the cultural attitudes of many Indians toward their former British rulers. After Ammu calls her father a “[shit]-wiper” in Hindi for his blind devotion to the British\, Chacko explains to the twins Rahel and Estha\, that they come from a family of Anglophiles\, or lovers of British culture\, “trapped outside their own history and unable to retrace their steps.” He goes on to say that they despise themselves because of this. Nearly all of the relationships in the novel are somehow colored by cultural and class tension. \nGraceLand\nChris Abani\nGraceLand is a 2004 novel by Chris Abani\, which tells the story of a teenager named Elvis\, who is trying to get out of the ghettos of Lagos\, Nigeria. Chris Abani depicts the poverty and violence in Lagos and how it affects the everyday lives of Elvis and his family. Having emigrated from Nigeria himself as a result of the Biafran War\, Abani’s novel touches on many issues relevant to corruption\, poverty\, and violence within the country. Elvis’s story also touches on issues related to globalization\, and how Nigeria’s impoverished communities are affected by this phenomenon. The main focus of this story is on Elvis and how he survives in the often harsh environment that is Nigeria’s largest city; Elvis himself is a complex and sympathetic character who clearly cares for his family despite a turbulent upbringing. However\, this is complicated by the numerous illegal and morally questionable jobs he takes part in with his friend Redemption. \n “The rain had cleared the oppressive heat that had already dropped like a blanket over Lagos; but the smell of garbage from refuse dumps\, unflushed toilets and stale bodies was still overwhelming. Elvis turned from the window\, dropping the threadbare curtain. Today was his sixteenth birthday\, and as with all the others\, it would pass uncelebrated. It had been that way since his mother died eight years before. He used to think that celebrating his birthday was too painful for his father\, a constant reminder of his loss. But Elvis had since come to the conclusion that his father was simply self-centered. The least I should do is get some more sleep\, he thought\, sitting on the bed. But the sun stabbed through the thin fabric\, bathing the room in sterile light. The radio played Bob Marley….”
URL:https://marxedproject.org/event/a-spring-fever-of-world-literature/2019-06-13/
LOCATION:United States
CATEGORIES:Classes/Events
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/03/Spring19Books_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190606T193000
DTEND;TZID=America/Halifax:20190606T213000
DTSTAMP:20260619T081028
CREATED:20190320T140344Z
LAST-MODIFIED:20190419T050329Z
UID:10006035-1559849400-1559856600@marxedproject.org
SUMMARY:A Spring Fever of World Literature
DESCRIPTION:A Spring Fever of World Literature\n“The progression from a critical reading of literature to an expansive conception of politics proved not only increasingly persuasive intellectually\, but also compelling.” – Stuart Hall\, Familiar Stranger\nLooking at the last century through the lens of literature (and what it tell us about the present moment and those moments that are soon to come). \nG. by John Berger (UK)\nThe Last Days of New Paris by China Miéville (UK)\nThe God of Small Things by Arundhati Roy (India)\nGraceLand by Chris Abani (Nigeria) \n“Only in fiction can we share another person’s specific experiences. Outside fiction we have to generalize.” — John Berger\, The Success and Failure of Picasso \n“…when I write my novels\, I’m not writing them to make political points. I’m writing them because I passionately love monsters and the weird and horror stories and strange situations and surrealism\, and what I want to do is communicate that. But\, because I come at this with a political perspective\, the world that I’m creating is embedded with many of the concerns that I have. […] I’m trying to say I’ve invented this world that I think is really cool and I have these really big stories to tell in it and one of the ways that I find to make that interesting is to think about it politically. If you want to do that too\, that’s fantastic. But if not\, isn’t this a cool monster?” — China Miéville \n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.”— Arundhati Roy\, The God of Small Things \nG.\nBerger sets the story of G. against the turbulent backdrop of Garibaldi and the failed revolution of Milanese workers in 1898\, the Boer War\, and the first flight across the Alps\, making G. a brilliant novel about the search for intimacy in history’s private moments. \nGiovanni – G – the product of an Italian merchant’s adulterous fling is sent to cousins on a farm in England\, where a piano-playing governess awakens the lust that proves the keynote in a series of fragmented episodes set during the years before the first world war – a prospect G relishes on account of all the women it will widow. \nThe Last Days of New Paris\nChina Miéville\n1941. In the chaos of wartime Marseille\, American engineer—and occult disciple—Jack Parsons stumbles onto a clandestine anti-Nazi group\, including Surrealist theorist André Breton. In the strange games of the dissident diplomats\, exiled revolutionaries\, and avant-garde artists\, Parsons finds and channels hope. But what he unwittingly unleashes is the power of dreams and nightmares\, changing the war and the world forever. \n“So there I am\, wondering what to do\, and I see you\, and I see what you’re carrying. And that is why I came running after you. Because I do not believe in coincidence.”  \n1950. A lone Surrealist fighter\, Thibaut\, walks a new\, hallucinogenic Paris\, where Nazis and the Resistance are trapped in unending conflict\, and the streets are stalked by living images and texts—and by the forces of Hell. To escape the city\, he must join forces with Sam\, an American photographer intent on recording the ruins\, and make common cause with a powerful\, enigmatic figure of chance and rebellion: the exquisite corpse. \nThe God of Small Things\nArundathi Roy\n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.” \nIn addition to commentary on Indian history and politics\, Roy evaluates the Indian post-colonial complex\, or the cultural attitudes of many Indians toward their former British rulers. After Ammu calls her father a “[shit]-wiper” in Hindi for his blind devotion to the British\, Chacko explains to the twins Rahel and Estha\, that they come from a family of Anglophiles\, or lovers of British culture\, “trapped outside their own history and unable to retrace their steps.” He goes on to say that they despise themselves because of this. Nearly all of the relationships in the novel are somehow colored by cultural and class tension. \nGraceLand\nChris Abani\nGraceLand is a 2004 novel by Chris Abani\, which tells the story of a teenager named Elvis\, who is trying to get out of the ghettos of Lagos\, Nigeria. Chris Abani depicts the poverty and violence in Lagos and how it affects the everyday lives of Elvis and his family. Having emigrated from Nigeria himself as a result of the Biafran War\, Abani’s novel touches on many issues relevant to corruption\, poverty\, and violence within the country. Elvis’s story also touches on issues related to globalization\, and how Nigeria’s impoverished communities are affected by this phenomenon. The main focus of this story is on Elvis and how he survives in the often harsh environment that is Nigeria’s largest city; Elvis himself is a complex and sympathetic character who clearly cares for his family despite a turbulent upbringing. However\, this is complicated by the numerous illegal and morally questionable jobs he takes part in with his friend Redemption. \n “The rain had cleared the oppressive heat that had already dropped like a blanket over Lagos; but the smell of garbage from refuse dumps\, unflushed toilets and stale bodies was still overwhelming. Elvis turned from the window\, dropping the threadbare curtain. Today was his sixteenth birthday\, and as with all the others\, it would pass uncelebrated. It had been that way since his mother died eight years before. He used to think that celebrating his birthday was too painful for his father\, a constant reminder of his loss. But Elvis had since come to the conclusion that his father was simply self-centered. The least I should do is get some more sleep\, he thought\, sitting on the bed. But the sun stabbed through the thin fabric\, bathing the room in sterile light. The radio played Bob Marley….”
URL:https://marxedproject.org/event/a-spring-fever-of-world-literature/2019-06-06/
LOCATION:United States
CATEGORIES:Classes/Events
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/03/Spring19Books_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190530T193000
DTEND;TZID=America/Halifax:20190530T213000
DTSTAMP:20260619T081028
CREATED:20190320T140344Z
LAST-MODIFIED:20190419T050329Z
UID:10006034-1559244600-1559251800@marxedproject.org
SUMMARY:A Spring Fever of World Literature
DESCRIPTION:A Spring Fever of World Literature\n“The progression from a critical reading of literature to an expansive conception of politics proved not only increasingly persuasive intellectually\, but also compelling.” – Stuart Hall\, Familiar Stranger\nLooking at the last century through the lens of literature (and what it tell us about the present moment and those moments that are soon to come). \nG. by John Berger (UK)\nThe Last Days of New Paris by China Miéville (UK)\nThe God of Small Things by Arundhati Roy (India)\nGraceLand by Chris Abani (Nigeria) \n“Only in fiction can we share another person’s specific experiences. Outside fiction we have to generalize.” — John Berger\, The Success and Failure of Picasso \n“…when I write my novels\, I’m not writing them to make political points. I’m writing them because I passionately love monsters and the weird and horror stories and strange situations and surrealism\, and what I want to do is communicate that. But\, because I come at this with a political perspective\, the world that I’m creating is embedded with many of the concerns that I have. […] I’m trying to say I’ve invented this world that I think is really cool and I have these really big stories to tell in it and one of the ways that I find to make that interesting is to think about it politically. If you want to do that too\, that’s fantastic. But if not\, isn’t this a cool monster?” — China Miéville \n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.”— Arundhati Roy\, The God of Small Things \nG.\nBerger sets the story of G. against the turbulent backdrop of Garibaldi and the failed revolution of Milanese workers in 1898\, the Boer War\, and the first flight across the Alps\, making G. a brilliant novel about the search for intimacy in history’s private moments. \nGiovanni – G – the product of an Italian merchant’s adulterous fling is sent to cousins on a farm in England\, where a piano-playing governess awakens the lust that proves the keynote in a series of fragmented episodes set during the years before the first world war – a prospect G relishes on account of all the women it will widow. \nThe Last Days of New Paris\nChina Miéville\n1941. In the chaos of wartime Marseille\, American engineer—and occult disciple—Jack Parsons stumbles onto a clandestine anti-Nazi group\, including Surrealist theorist André Breton. In the strange games of the dissident diplomats\, exiled revolutionaries\, and avant-garde artists\, Parsons finds and channels hope. But what he unwittingly unleashes is the power of dreams and nightmares\, changing the war and the world forever. \n“So there I am\, wondering what to do\, and I see you\, and I see what you’re carrying. And that is why I came running after you. Because I do not believe in coincidence.”  \n1950. A lone Surrealist fighter\, Thibaut\, walks a new\, hallucinogenic Paris\, where Nazis and the Resistance are trapped in unending conflict\, and the streets are stalked by living images and texts—and by the forces of Hell. To escape the city\, he must join forces with Sam\, an American photographer intent on recording the ruins\, and make common cause with a powerful\, enigmatic figure of chance and rebellion: the exquisite corpse. \nThe God of Small Things\nArundathi Roy\n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.” \nIn addition to commentary on Indian history and politics\, Roy evaluates the Indian post-colonial complex\, or the cultural attitudes of many Indians toward their former British rulers. After Ammu calls her father a “[shit]-wiper” in Hindi for his blind devotion to the British\, Chacko explains to the twins Rahel and Estha\, that they come from a family of Anglophiles\, or lovers of British culture\, “trapped outside their own history and unable to retrace their steps.” He goes on to say that they despise themselves because of this. Nearly all of the relationships in the novel are somehow colored by cultural and class tension. \nGraceLand\nChris Abani\nGraceLand is a 2004 novel by Chris Abani\, which tells the story of a teenager named Elvis\, who is trying to get out of the ghettos of Lagos\, Nigeria. Chris Abani depicts the poverty and violence in Lagos and how it affects the everyday lives of Elvis and his family. Having emigrated from Nigeria himself as a result of the Biafran War\, Abani’s novel touches on many issues relevant to corruption\, poverty\, and violence within the country. Elvis’s story also touches on issues related to globalization\, and how Nigeria’s impoverished communities are affected by this phenomenon. The main focus of this story is on Elvis and how he survives in the often harsh environment that is Nigeria’s largest city; Elvis himself is a complex and sympathetic character who clearly cares for his family despite a turbulent upbringing. However\, this is complicated by the numerous illegal and morally questionable jobs he takes part in with his friend Redemption. \n “The rain had cleared the oppressive heat that had already dropped like a blanket over Lagos; but the smell of garbage from refuse dumps\, unflushed toilets and stale bodies was still overwhelming. Elvis turned from the window\, dropping the threadbare curtain. Today was his sixteenth birthday\, and as with all the others\, it would pass uncelebrated. It had been that way since his mother died eight years before. He used to think that celebrating his birthday was too painful for his father\, a constant reminder of his loss. But Elvis had since come to the conclusion that his father was simply self-centered. The least I should do is get some more sleep\, he thought\, sitting on the bed. But the sun stabbed through the thin fabric\, bathing the room in sterile light. The radio played Bob Marley….”
URL:https://marxedproject.org/event/a-spring-fever-of-world-literature/2019-05-30/
LOCATION:United States
CATEGORIES:Classes/Events
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/03/Spring19Books_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190523T193000
DTEND;TZID=America/Halifax:20190523T213000
DTSTAMP:20260619T081028
CREATED:20190320T140344Z
LAST-MODIFIED:20190419T050329Z
UID:10006033-1558639800-1558647000@marxedproject.org
SUMMARY:A Spring Fever of World Literature
DESCRIPTION:A Spring Fever of World Literature\n“The progression from a critical reading of literature to an expansive conception of politics proved not only increasingly persuasive intellectually\, but also compelling.” – Stuart Hall\, Familiar Stranger\nLooking at the last century through the lens of literature (and what it tell us about the present moment and those moments that are soon to come). \nG. by John Berger (UK)\nThe Last Days of New Paris by China Miéville (UK)\nThe God of Small Things by Arundhati Roy (India)\nGraceLand by Chris Abani (Nigeria) \n“Only in fiction can we share another person’s specific experiences. Outside fiction we have to generalize.” — John Berger\, The Success and Failure of Picasso \n“…when I write my novels\, I’m not writing them to make political points. I’m writing them because I passionately love monsters and the weird and horror stories and strange situations and surrealism\, and what I want to do is communicate that. But\, because I come at this with a political perspective\, the world that I’m creating is embedded with many of the concerns that I have. […] I’m trying to say I’ve invented this world that I think is really cool and I have these really big stories to tell in it and one of the ways that I find to make that interesting is to think about it politically. If you want to do that too\, that’s fantastic. But if not\, isn’t this a cool monster?” — China Miéville \n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.”— Arundhati Roy\, The God of Small Things \nG.\nBerger sets the story of G. against the turbulent backdrop of Garibaldi and the failed revolution of Milanese workers in 1898\, the Boer War\, and the first flight across the Alps\, making G. a brilliant novel about the search for intimacy in history’s private moments. \nGiovanni – G – the product of an Italian merchant’s adulterous fling is sent to cousins on a farm in England\, where a piano-playing governess awakens the lust that proves the keynote in a series of fragmented episodes set during the years before the first world war – a prospect G relishes on account of all the women it will widow. \nThe Last Days of New Paris\nChina Miéville\n1941. In the chaos of wartime Marseille\, American engineer—and occult disciple—Jack Parsons stumbles onto a clandestine anti-Nazi group\, including Surrealist theorist André Breton. In the strange games of the dissident diplomats\, exiled revolutionaries\, and avant-garde artists\, Parsons finds and channels hope. But what he unwittingly unleashes is the power of dreams and nightmares\, changing the war and the world forever. \n“So there I am\, wondering what to do\, and I see you\, and I see what you’re carrying. And that is why I came running after you. Because I do not believe in coincidence.”  \n1950. A lone Surrealist fighter\, Thibaut\, walks a new\, hallucinogenic Paris\, where Nazis and the Resistance are trapped in unending conflict\, and the streets are stalked by living images and texts—and by the forces of Hell. To escape the city\, he must join forces with Sam\, an American photographer intent on recording the ruins\, and make common cause with a powerful\, enigmatic figure of chance and rebellion: the exquisite corpse. \nThe God of Small Things\nArundathi Roy\n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.” \nIn addition to commentary on Indian history and politics\, Roy evaluates the Indian post-colonial complex\, or the cultural attitudes of many Indians toward their former British rulers. After Ammu calls her father a “[shit]-wiper” in Hindi for his blind devotion to the British\, Chacko explains to the twins Rahel and Estha\, that they come from a family of Anglophiles\, or lovers of British culture\, “trapped outside their own history and unable to retrace their steps.” He goes on to say that they despise themselves because of this. Nearly all of the relationships in the novel are somehow colored by cultural and class tension. \nGraceLand\nChris Abani\nGraceLand is a 2004 novel by Chris Abani\, which tells the story of a teenager named Elvis\, who is trying to get out of the ghettos of Lagos\, Nigeria. Chris Abani depicts the poverty and violence in Lagos and how it affects the everyday lives of Elvis and his family. Having emigrated from Nigeria himself as a result of the Biafran War\, Abani’s novel touches on many issues relevant to corruption\, poverty\, and violence within the country. Elvis’s story also touches on issues related to globalization\, and how Nigeria’s impoverished communities are affected by this phenomenon. The main focus of this story is on Elvis and how he survives in the often harsh environment that is Nigeria’s largest city; Elvis himself is a complex and sympathetic character who clearly cares for his family despite a turbulent upbringing. However\, this is complicated by the numerous illegal and morally questionable jobs he takes part in with his friend Redemption. \n “The rain had cleared the oppressive heat that had already dropped like a blanket over Lagos; but the smell of garbage from refuse dumps\, unflushed toilets and stale bodies was still overwhelming. Elvis turned from the window\, dropping the threadbare curtain. Today was his sixteenth birthday\, and as with all the others\, it would pass uncelebrated. It had been that way since his mother died eight years before. He used to think that celebrating his birthday was too painful for his father\, a constant reminder of his loss. But Elvis had since come to the conclusion that his father was simply self-centered. The least I should do is get some more sleep\, he thought\, sitting on the bed. But the sun stabbed through the thin fabric\, bathing the room in sterile light. The radio played Bob Marley….”
URL:https://marxedproject.org/event/a-spring-fever-of-world-literature/2019-05-23/
LOCATION:United States
CATEGORIES:Classes/Events
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/03/Spring19Books_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190516T193000
DTEND;TZID=America/Halifax:20190516T213000
DTSTAMP:20260619T081028
CREATED:20190320T140344Z
LAST-MODIFIED:20190419T050329Z
UID:10006032-1558035000-1558042200@marxedproject.org
SUMMARY:A Spring Fever of World Literature
DESCRIPTION:A Spring Fever of World Literature\n“The progression from a critical reading of literature to an expansive conception of politics proved not only increasingly persuasive intellectually\, but also compelling.” – Stuart Hall\, Familiar Stranger\nLooking at the last century through the lens of literature (and what it tell us about the present moment and those moments that are soon to come). \nG. by John Berger (UK)\nThe Last Days of New Paris by China Miéville (UK)\nThe God of Small Things by Arundhati Roy (India)\nGraceLand by Chris Abani (Nigeria) \n“Only in fiction can we share another person’s specific experiences. Outside fiction we have to generalize.” — John Berger\, The Success and Failure of Picasso \n“…when I write my novels\, I’m not writing them to make political points. I’m writing them because I passionately love monsters and the weird and horror stories and strange situations and surrealism\, and what I want to do is communicate that. But\, because I come at this with a political perspective\, the world that I’m creating is embedded with many of the concerns that I have. […] I’m trying to say I’ve invented this world that I think is really cool and I have these really big stories to tell in it and one of the ways that I find to make that interesting is to think about it politically. If you want to do that too\, that’s fantastic. But if not\, isn’t this a cool monster?” — China Miéville \n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.”— Arundhati Roy\, The God of Small Things \nG.\nBerger sets the story of G. against the turbulent backdrop of Garibaldi and the failed revolution of Milanese workers in 1898\, the Boer War\, and the first flight across the Alps\, making G. a brilliant novel about the search for intimacy in history’s private moments. \nGiovanni – G – the product of an Italian merchant’s adulterous fling is sent to cousins on a farm in England\, where a piano-playing governess awakens the lust that proves the keynote in a series of fragmented episodes set during the years before the first world war – a prospect G relishes on account of all the women it will widow. \nThe Last Days of New Paris\nChina Miéville\n1941. In the chaos of wartime Marseille\, American engineer—and occult disciple—Jack Parsons stumbles onto a clandestine anti-Nazi group\, including Surrealist theorist André Breton. In the strange games of the dissident diplomats\, exiled revolutionaries\, and avant-garde artists\, Parsons finds and channels hope. But what he unwittingly unleashes is the power of dreams and nightmares\, changing the war and the world forever. \n“So there I am\, wondering what to do\, and I see you\, and I see what you’re carrying. And that is why I came running after you. Because I do not believe in coincidence.”  \n1950. A lone Surrealist fighter\, Thibaut\, walks a new\, hallucinogenic Paris\, where Nazis and the Resistance are trapped in unending conflict\, and the streets are stalked by living images and texts—and by the forces of Hell. To escape the city\, he must join forces with Sam\, an American photographer intent on recording the ruins\, and make common cause with a powerful\, enigmatic figure of chance and rebellion: the exquisite corpse. \nThe God of Small Things\nArundathi Roy\n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.” \nIn addition to commentary on Indian history and politics\, Roy evaluates the Indian post-colonial complex\, or the cultural attitudes of many Indians toward their former British rulers. After Ammu calls her father a “[shit]-wiper” in Hindi for his blind devotion to the British\, Chacko explains to the twins Rahel and Estha\, that they come from a family of Anglophiles\, or lovers of British culture\, “trapped outside their own history and unable to retrace their steps.” He goes on to say that they despise themselves because of this. Nearly all of the relationships in the novel are somehow colored by cultural and class tension. \nGraceLand\nChris Abani\nGraceLand is a 2004 novel by Chris Abani\, which tells the story of a teenager named Elvis\, who is trying to get out of the ghettos of Lagos\, Nigeria. Chris Abani depicts the poverty and violence in Lagos and how it affects the everyday lives of Elvis and his family. Having emigrated from Nigeria himself as a result of the Biafran War\, Abani’s novel touches on many issues relevant to corruption\, poverty\, and violence within the country. Elvis’s story also touches on issues related to globalization\, and how Nigeria’s impoverished communities are affected by this phenomenon. The main focus of this story is on Elvis and how he survives in the often harsh environment that is Nigeria’s largest city; Elvis himself is a complex and sympathetic character who clearly cares for his family despite a turbulent upbringing. However\, this is complicated by the numerous illegal and morally questionable jobs he takes part in with his friend Redemption. \n “The rain had cleared the oppressive heat that had already dropped like a blanket over Lagos; but the smell of garbage from refuse dumps\, unflushed toilets and stale bodies was still overwhelming. Elvis turned from the window\, dropping the threadbare curtain. Today was his sixteenth birthday\, and as with all the others\, it would pass uncelebrated. It had been that way since his mother died eight years before. He used to think that celebrating his birthday was too painful for his father\, a constant reminder of his loss. But Elvis had since come to the conclusion that his father was simply self-centered. The least I should do is get some more sleep\, he thought\, sitting on the bed. But the sun stabbed through the thin fabric\, bathing the room in sterile light. The radio played Bob Marley….”
URL:https://marxedproject.org/event/a-spring-fever-of-world-literature/2019-05-16/
LOCATION:United States
CATEGORIES:Classes/Events
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/03/Spring19Books_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190509T193000
DTEND;TZID=America/Halifax:20190509T213000
DTSTAMP:20260619T081028
CREATED:20190320T140344Z
LAST-MODIFIED:20190419T050329Z
UID:10006031-1557430200-1557437400@marxedproject.org
SUMMARY:A Spring Fever of World Literature
DESCRIPTION:A Spring Fever of World Literature\n“The progression from a critical reading of literature to an expansive conception of politics proved not only increasingly persuasive intellectually\, but also compelling.” – Stuart Hall\, Familiar Stranger\nLooking at the last century through the lens of literature (and what it tell us about the present moment and those moments that are soon to come). \nG. by John Berger (UK)\nThe Last Days of New Paris by China Miéville (UK)\nThe God of Small Things by Arundhati Roy (India)\nGraceLand by Chris Abani (Nigeria) \n“Only in fiction can we share another person’s specific experiences. Outside fiction we have to generalize.” — John Berger\, The Success and Failure of Picasso \n“…when I write my novels\, I’m not writing them to make political points. I’m writing them because I passionately love monsters and the weird and horror stories and strange situations and surrealism\, and what I want to do is communicate that. But\, because I come at this with a political perspective\, the world that I’m creating is embedded with many of the concerns that I have. […] I’m trying to say I’ve invented this world that I think is really cool and I have these really big stories to tell in it and one of the ways that I find to make that interesting is to think about it politically. If you want to do that too\, that’s fantastic. But if not\, isn’t this a cool monster?” — China Miéville \n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.”— Arundhati Roy\, The God of Small Things \nG.\nBerger sets the story of G. against the turbulent backdrop of Garibaldi and the failed revolution of Milanese workers in 1898\, the Boer War\, and the first flight across the Alps\, making G. a brilliant novel about the search for intimacy in history’s private moments. \nGiovanni – G – the product of an Italian merchant’s adulterous fling is sent to cousins on a farm in England\, where a piano-playing governess awakens the lust that proves the keynote in a series of fragmented episodes set during the years before the first world war – a prospect G relishes on account of all the women it will widow. \nThe Last Days of New Paris\nChina Miéville\n1941. In the chaos of wartime Marseille\, American engineer—and occult disciple—Jack Parsons stumbles onto a clandestine anti-Nazi group\, including Surrealist theorist André Breton. In the strange games of the dissident diplomats\, exiled revolutionaries\, and avant-garde artists\, Parsons finds and channels hope. But what he unwittingly unleashes is the power of dreams and nightmares\, changing the war and the world forever. \n“So there I am\, wondering what to do\, and I see you\, and I see what you’re carrying. And that is why I came running after you. Because I do not believe in coincidence.”  \n1950. A lone Surrealist fighter\, Thibaut\, walks a new\, hallucinogenic Paris\, where Nazis and the Resistance are trapped in unending conflict\, and the streets are stalked by living images and texts—and by the forces of Hell. To escape the city\, he must join forces with Sam\, an American photographer intent on recording the ruins\, and make common cause with a powerful\, enigmatic figure of chance and rebellion: the exquisite corpse. \nThe God of Small Things\nArundathi Roy\n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.” \nIn addition to commentary on Indian history and politics\, Roy evaluates the Indian post-colonial complex\, or the cultural attitudes of many Indians toward their former British rulers. After Ammu calls her father a “[shit]-wiper” in Hindi for his blind devotion to the British\, Chacko explains to the twins Rahel and Estha\, that they come from a family of Anglophiles\, or lovers of British culture\, “trapped outside their own history and unable to retrace their steps.” He goes on to say that they despise themselves because of this. Nearly all of the relationships in the novel are somehow colored by cultural and class tension. \nGraceLand\nChris Abani\nGraceLand is a 2004 novel by Chris Abani\, which tells the story of a teenager named Elvis\, who is trying to get out of the ghettos of Lagos\, Nigeria. Chris Abani depicts the poverty and violence in Lagos and how it affects the everyday lives of Elvis and his family. Having emigrated from Nigeria himself as a result of the Biafran War\, Abani’s novel touches on many issues relevant to corruption\, poverty\, and violence within the country. Elvis’s story also touches on issues related to globalization\, and how Nigeria’s impoverished communities are affected by this phenomenon. The main focus of this story is on Elvis and how he survives in the often harsh environment that is Nigeria’s largest city; Elvis himself is a complex and sympathetic character who clearly cares for his family despite a turbulent upbringing. However\, this is complicated by the numerous illegal and morally questionable jobs he takes part in with his friend Redemption. \n “The rain had cleared the oppressive heat that had already dropped like a blanket over Lagos; but the smell of garbage from refuse dumps\, unflushed toilets and stale bodies was still overwhelming. Elvis turned from the window\, dropping the threadbare curtain. Today was his sixteenth birthday\, and as with all the others\, it would pass uncelebrated. It had been that way since his mother died eight years before. He used to think that celebrating his birthday was too painful for his father\, a constant reminder of his loss. But Elvis had since come to the conclusion that his father was simply self-centered. The least I should do is get some more sleep\, he thought\, sitting on the bed. But the sun stabbed through the thin fabric\, bathing the room in sterile light. The radio played Bob Marley….”
URL:https://marxedproject.org/event/a-spring-fever-of-world-literature/2019-05-09/
LOCATION:United States
CATEGORIES:Classes/Events
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/03/Spring19Books_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190502T193000
DTEND;TZID=America/Halifax:20190502T213000
DTSTAMP:20260619T081028
CREATED:20190320T140344Z
LAST-MODIFIED:20190419T050329Z
UID:10006030-1556825400-1556832600@marxedproject.org
SUMMARY:A Spring Fever of World Literature
DESCRIPTION:A Spring Fever of World Literature\n“The progression from a critical reading of literature to an expansive conception of politics proved not only increasingly persuasive intellectually\, but also compelling.” – Stuart Hall\, Familiar Stranger\nLooking at the last century through the lens of literature (and what it tell us about the present moment and those moments that are soon to come). \nG. by John Berger (UK)\nThe Last Days of New Paris by China Miéville (UK)\nThe God of Small Things by Arundhati Roy (India)\nGraceLand by Chris Abani (Nigeria) \n“Only in fiction can we share another person’s specific experiences. Outside fiction we have to generalize.” — John Berger\, The Success and Failure of Picasso \n“…when I write my novels\, I’m not writing them to make political points. I’m writing them because I passionately love monsters and the weird and horror stories and strange situations and surrealism\, and what I want to do is communicate that. But\, because I come at this with a political perspective\, the world that I’m creating is embedded with many of the concerns that I have. […] I’m trying to say I’ve invented this world that I think is really cool and I have these really big stories to tell in it and one of the ways that I find to make that interesting is to think about it politically. If you want to do that too\, that’s fantastic. But if not\, isn’t this a cool monster?” — China Miéville \n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.”— Arundhati Roy\, The God of Small Things \nG.\nBerger sets the story of G. against the turbulent backdrop of Garibaldi and the failed revolution of Milanese workers in 1898\, the Boer War\, and the first flight across the Alps\, making G. a brilliant novel about the search for intimacy in history’s private moments. \nGiovanni – G – the product of an Italian merchant’s adulterous fling is sent to cousins on a farm in England\, where a piano-playing governess awakens the lust that proves the keynote in a series of fragmented episodes set during the years before the first world war – a prospect G relishes on account of all the women it will widow. \nThe Last Days of New Paris\nChina Miéville\n1941. In the chaos of wartime Marseille\, American engineer—and occult disciple—Jack Parsons stumbles onto a clandestine anti-Nazi group\, including Surrealist theorist André Breton. In the strange games of the dissident diplomats\, exiled revolutionaries\, and avant-garde artists\, Parsons finds and channels hope. But what he unwittingly unleashes is the power of dreams and nightmares\, changing the war and the world forever. \n“So there I am\, wondering what to do\, and I see you\, and I see what you’re carrying. And that is why I came running after you. Because I do not believe in coincidence.”  \n1950. A lone Surrealist fighter\, Thibaut\, walks a new\, hallucinogenic Paris\, where Nazis and the Resistance are trapped in unending conflict\, and the streets are stalked by living images and texts—and by the forces of Hell. To escape the city\, he must join forces with Sam\, an American photographer intent on recording the ruins\, and make common cause with a powerful\, enigmatic figure of chance and rebellion: the exquisite corpse. \nThe God of Small Things\nArundathi Roy\n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.” \nIn addition to commentary on Indian history and politics\, Roy evaluates the Indian post-colonial complex\, or the cultural attitudes of many Indians toward their former British rulers. After Ammu calls her father a “[shit]-wiper” in Hindi for his blind devotion to the British\, Chacko explains to the twins Rahel and Estha\, that they come from a family of Anglophiles\, or lovers of British culture\, “trapped outside their own history and unable to retrace their steps.” He goes on to say that they despise themselves because of this. Nearly all of the relationships in the novel are somehow colored by cultural and class tension. \nGraceLand\nChris Abani\nGraceLand is a 2004 novel by Chris Abani\, which tells the story of a teenager named Elvis\, who is trying to get out of the ghettos of Lagos\, Nigeria. Chris Abani depicts the poverty and violence in Lagos and how it affects the everyday lives of Elvis and his family. Having emigrated from Nigeria himself as a result of the Biafran War\, Abani’s novel touches on many issues relevant to corruption\, poverty\, and violence within the country. Elvis’s story also touches on issues related to globalization\, and how Nigeria’s impoverished communities are affected by this phenomenon. The main focus of this story is on Elvis and how he survives in the often harsh environment that is Nigeria’s largest city; Elvis himself is a complex and sympathetic character who clearly cares for his family despite a turbulent upbringing. However\, this is complicated by the numerous illegal and morally questionable jobs he takes part in with his friend Redemption. \n “The rain had cleared the oppressive heat that had already dropped like a blanket over Lagos; but the smell of garbage from refuse dumps\, unflushed toilets and stale bodies was still overwhelming. Elvis turned from the window\, dropping the threadbare curtain. Today was his sixteenth birthday\, and as with all the others\, it would pass uncelebrated. It had been that way since his mother died eight years before. He used to think that celebrating his birthday was too painful for his father\, a constant reminder of his loss. But Elvis had since come to the conclusion that his father was simply self-centered. The least I should do is get some more sleep\, he thought\, sitting on the bed. But the sun stabbed through the thin fabric\, bathing the room in sterile light. The radio played Bob Marley….”
URL:https://marxedproject.org/event/a-spring-fever-of-world-literature/2019-05-02/
LOCATION:United States
CATEGORIES:Classes/Events
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/03/Spring19Books_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190425T193000
DTEND;TZID=America/Halifax:20190425T213000
DTSTAMP:20260619T081028
CREATED:20190320T140344Z
LAST-MODIFIED:20190419T050329Z
UID:10006029-1556220600-1556227800@marxedproject.org
SUMMARY:A Spring Fever of World Literature
DESCRIPTION:A Spring Fever of World Literature\n“The progression from a critical reading of literature to an expansive conception of politics proved not only increasingly persuasive intellectually\, but also compelling.” – Stuart Hall\, Familiar Stranger\nLooking at the last century through the lens of literature (and what it tell us about the present moment and those moments that are soon to come). \nG. by John Berger (UK)\nThe Last Days of New Paris by China Miéville (UK)\nThe God of Small Things by Arundhati Roy (India)\nGraceLand by Chris Abani (Nigeria) \n“Only in fiction can we share another person’s specific experiences. Outside fiction we have to generalize.” — John Berger\, The Success and Failure of Picasso \n“…when I write my novels\, I’m not writing them to make political points. I’m writing them because I passionately love monsters and the weird and horror stories and strange situations and surrealism\, and what I want to do is communicate that. But\, because I come at this with a political perspective\, the world that I’m creating is embedded with many of the concerns that I have. […] I’m trying to say I’ve invented this world that I think is really cool and I have these really big stories to tell in it and one of the ways that I find to make that interesting is to think about it politically. If you want to do that too\, that’s fantastic. But if not\, isn’t this a cool monster?” — China Miéville \n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.”— Arundhati Roy\, The God of Small Things \nG.\nBerger sets the story of G. against the turbulent backdrop of Garibaldi and the failed revolution of Milanese workers in 1898\, the Boer War\, and the first flight across the Alps\, making G. a brilliant novel about the search for intimacy in history’s private moments. \nGiovanni – G – the product of an Italian merchant’s adulterous fling is sent to cousins on a farm in England\, where a piano-playing governess awakens the lust that proves the keynote in a series of fragmented episodes set during the years before the first world war – a prospect G relishes on account of all the women it will widow. \nThe Last Days of New Paris\nChina Miéville\n1941. In the chaos of wartime Marseille\, American engineer—and occult disciple—Jack Parsons stumbles onto a clandestine anti-Nazi group\, including Surrealist theorist André Breton. In the strange games of the dissident diplomats\, exiled revolutionaries\, and avant-garde artists\, Parsons finds and channels hope. But what he unwittingly unleashes is the power of dreams and nightmares\, changing the war and the world forever. \n“So there I am\, wondering what to do\, and I see you\, and I see what you’re carrying. And that is why I came running after you. Because I do not believe in coincidence.”  \n1950. A lone Surrealist fighter\, Thibaut\, walks a new\, hallucinogenic Paris\, where Nazis and the Resistance are trapped in unending conflict\, and the streets are stalked by living images and texts—and by the forces of Hell. To escape the city\, he must join forces with Sam\, an American photographer intent on recording the ruins\, and make common cause with a powerful\, enigmatic figure of chance and rebellion: the exquisite corpse. \nThe God of Small Things\nArundathi Roy\n“It didn’t matter that the story had begun\, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings.” \nIn addition to commentary on Indian history and politics\, Roy evaluates the Indian post-colonial complex\, or the cultural attitudes of many Indians toward their former British rulers. After Ammu calls her father a “[shit]-wiper” in Hindi for his blind devotion to the British\, Chacko explains to the twins Rahel and Estha\, that they come from a family of Anglophiles\, or lovers of British culture\, “trapped outside their own history and unable to retrace their steps.” He goes on to say that they despise themselves because of this. Nearly all of the relationships in the novel are somehow colored by cultural and class tension. \nGraceLand\nChris Abani\nGraceLand is a 2004 novel by Chris Abani\, which tells the story of a teenager named Elvis\, who is trying to get out of the ghettos of Lagos\, Nigeria. Chris Abani depicts the poverty and violence in Lagos and how it affects the everyday lives of Elvis and his family. Having emigrated from Nigeria himself as a result of the Biafran War\, Abani’s novel touches on many issues relevant to corruption\, poverty\, and violence within the country. Elvis’s story also touches on issues related to globalization\, and how Nigeria’s impoverished communities are affected by this phenomenon. The main focus of this story is on Elvis and how he survives in the often harsh environment that is Nigeria’s largest city; Elvis himself is a complex and sympathetic character who clearly cares for his family despite a turbulent upbringing. However\, this is complicated by the numerous illegal and morally questionable jobs he takes part in with his friend Redemption. \n “The rain had cleared the oppressive heat that had already dropped like a blanket over Lagos; but the smell of garbage from refuse dumps\, unflushed toilets and stale bodies was still overwhelming. Elvis turned from the window\, dropping the threadbare curtain. Today was his sixteenth birthday\, and as with all the others\, it would pass uncelebrated. It had been that way since his mother died eight years before. He used to think that celebrating his birthday was too painful for his father\, a constant reminder of his loss. But Elvis had since come to the conclusion that his father was simply self-centered. The least I should do is get some more sleep\, he thought\, sitting on the bed. But the sun stabbed through the thin fabric\, bathing the room in sterile light. The radio played Bob Marley….”
URL:https://marxedproject.org/event/a-spring-fever-of-world-literature/2019-04-25/
LOCATION:United States
CATEGORIES:Classes/Events
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/03/Spring19Books_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20180422T153000
DTEND;TZID=America/Halifax:20180422T173000
DTSTAMP:20260619T081028
CREATED:20180325T190301Z
LAST-MODIFIED:20180326T013541Z
UID:10003911-1524411000-1524418200@marxedproject.org
SUMMARY:May Made Me
DESCRIPTION:An oral history of the 1968 uprising in France\nWith author Mitch Abidor\nat New Perspectives Studio\n456-458 West 37th Street (near 10th Avenue)/Manhattan \nThe mass protests that shook France in May 1968 were exciting\, dangerous\, creative and influential\, changing European politics to this day. Students demonstrated\, workers went on general strike\, factories and universities were occupied. At the height of its momentum\, the protests brought the entire national economy to a halt. The protests reached such a point that the French and international bourgeoisie feared civil war or revolution. \nFifty years later\, here are the eye-opening oral testimonies of those young rebels. By listening to the voices of students and workers\, as opposed to those of their leaders\, May ’68 appears not just as a mass event\, but rather as an event driven by millions of individuals\, creating a mosaic human portrait of France at the time.  \nPublished on the 50th anniversary of those days in the spring of 68\, May Made Me presents the legacy of the uprising: how those explosive experiences changed the individuals who participated and their lives as lived since then. \nMitch Abidor is a translator from Brooklyn whose  many translations include A Socialist History of the French Revolution by Jean Jaurès and Anarchists Never Surrender and other works by Victor Serge.
URL:https://marxedproject.org/event/may-made-me/
LOCATION:New Perspectives Theatre\, 456-458 West 37th Street\, New York\, NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2018/03/MayMadeMe_FCSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20170502T193000
DTEND;TZID=America/Halifax:20170502T213000
DTSTAMP:20260619T081028
CREATED:20170125T073236Z
LAST-MODIFIED:20170430T063053Z
UID:10006133-1493753400-1493760600@marxedproject.org
SUMMARY:60s New Left: National and International
DESCRIPTION:A New Left Begins\n2nd sessions\nBeginning Tuesday\, May 2 — sessions continue through July\nwith Mitch Abidor\, Jenny Brown\, Michael Pelias and others \nMay 2\, a reading and discussion of Marat/Sade. Watch the film if you have the opportunity\nMay 9 and 16\, RD Laing\, counter-psychiatric / anti-psychiatry. The Politics of Experience and more. Presentations and discussion with Michael Pelias on May 9 and May 16.\nMay 23 and 30. Paris. May\, 1968. These talks will investigate the events May 68 in France through an analysis of the writings of Daniel Cohn-Bendit\, one of the most important and interesting of its leaders\, as well as the experiences of rank and file militants interviewed by Mitch Abidor for his forthcoming oral history\, May Made Me.\nMitchell Abidor is the principal French translator for the Marxists Internet Archive and has published several collections of his translations\, among them Jean Jaurès’ Socialist History of the French Revolution and A Raskolnikoff by Emmanuel Bove\, and previously untranslated works by Victor Serge and Daniel Guerin\, as well as writings from the French Revolution\, are forthcoming. His May Made Me will appear in time for the fiftieth anniversary of the May events in France.\nJune 6 and 13. The music didn’t die. A look at the many cultural influences of the first generation born with the bomb and mutually assured destruction from day one. An overview and music and a reading and discussion of Jeff Nuttal’s Bomb Culture.\nThe growth of Women’s liberation and the experience of the growth of this mass movement in the 1960s and what this meant for the new left. Jenny Brown from National Women’s Liberation will select and help focus these our discussion at dates to be determined.\nJenny Brown is an organizer with National Women’s Liberation and has been involved in feminist theory and organizing since 1988\, first with Gainesville Women’s Liberation in Gainesville\, Florida and then with the Redstockings Women’s Liberation Archives for Action\, a movement think-tank and archive based in New York. She co-authored the Redstockings book\, Women’s Liberation and National Healthcare: Confronting the Myth of America and the Labor Notes book How to Jump Start Your Union: Lessons from the Chicago Teachers along with numerous essays and articles. She was also a co-chair of a Labor Party Local Organizing Committee in Gainesville\, Florida and is a former editor of Labor Notes.
URL:https://marxedproject.org/event/mills-port-huron-the-u-s-new-left-begins/
LOCATION:United States
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2017/01/Paris68_Site.jpg
END:VEVENT
END:VCALENDAR