#FeesMustFall, the student revolt that began in October 2015, was an uprising against lack of access to, and financial exclusion from, higher education in South Africa. More broadly, it radically questioned the socio-political dispensation resulting from the 1994 social pact between big business, the ruling elite and the liberation movement.

The 2015 revolt links to national and international youth struggles of the recent past and is informed by Black Consciousness politics and social movements of the international Left. Yet, its objectives are more complex than those of earlier struggles. The student movement has challenged the hierarchical, top-down leadership system of university management and it’s ‘double speak’ of professing to act in workers’ and students’ interests yet enforce a regressive system for control and governance. University managements, while one one level amenable to change, have also co-opted students into their ranks to create co-responsibility for the highly bureaucratised university financial aid that stand in the way of their social revolution.

This book maps the contours of student discontent a year after the start of the #FeesMustFall revolt. Student voices dissect coloniality, improper compromises by the founders of democratic South Africa, feminism, worker rights and meaningful education. In-depth assessments by prominent scholars reflect on the complexities of student activism, its impact on national and university governance, and offer provocative analyses of the power of the revolt.

Seeking Sanctuary brings together poignant life stories from fourteen lesbian, gay, bisexual and transgender (LGBT) migrants, refugees and asylum seekers living in Johannesburg, South Africa. The stories, diverse in scope, chronicle each narrator’s arduous journey to South Africa, and their corresponding movement towards self-love and self-acceptance.

The narrators reveal their personal battles to reconcile their faith with their sexuality and gender identity, often in the face of violent persecution, and how they have carved out spaces of hope and belonging in their new home country. In these intimate testimonies, the narrators’ resilience in the midst of uncertain futures reveal the myriad ways in which LGBT Africans push back against unjust and unequal systems.

Seeking Sanctuary makes a critical intervention by showing the complex interplay between homophobia and xenophobia in South Africa, and of the state of sexual orientation and gender identity (SOGI) rights in Africa. By shedding light on the fraught connections between sexuality, faith and migration, this ground-breaking project also provides a model for religious communities who are working towards justice, diversity and inclusion.

Do South Africans Exist? Addresses a gap in contemporary studies of nationalism and the nation, providing a critical study of South African nationalism, against a broader context of African nationalism in general.

The author argues that the nation is a politcal community whose form is given in relation to the pursuit of democracy and freedom, and that if democratic authoriy is lodged in 'the people', what matters is the way that this 'people' is defined, delimited and produced.

As jobs disappear and wages flat-line, paid work is an increasingly fragile and unattainable basis for dignified life. This predicament, deepened by the COVID-19 pandemic, is sparking urgent debates about alternatives such as a Universal Basic Income (UBI). Highly topical and distinctive in its approach, In the Balance: The Case for a Universal Basic Income in South Africa and Beyond is the most grounded and up-to-date examination yet of the need and prospects for a UBI in a global South setting such as South Africa.

Hein Marais casts the debate about a UBI in the wider context of the dispossessing pressures of capitalism and the onrushing turmoil of global warming, pandemics and social upheaval. Marais surveys the meaning, history and appeal of a UBI before even-handedly weighing the case for and against such an intervention.

The book explores the vexing questions a UBI raises about the relationship of paid work to social rights, about prevailing notions of citizens’ entitlement and dependency, and the role of the state in contemporary capitalism. Along with cost estimates for different versions of a basic income in South Africa, it discusses financing options and lays out the social, economic and political implications. This incisive new book advances both our theoretical and practical understanding of the prospects for a UBI.

On 8 January 2012 the African National Congress (ANC) of South Africa, the oldest African nationalist organisation on the continent, celebrated its one hundredth anniversary. This historic event has generated significant public debate within both the ANC and South African society at large. There is no better time to critically reflect on the ANC's historical trajectory and struggle against colonialism and apartheid than in its centennial year. One Hundred Years of the ANC is a collection of new work by renowned South African and international scholars. Covering a broad chronological and geographical spectrum and using a diverse range of sources, the contributors build upon but also extend the historiography of the ANC by tapping into marginal spaces in ANC history. By moving away from the celebratory mode that has characterised much of the contemporary discussions on the centenary, the contributors suggest that the relationship between the histories of earlier struggles and the present needs to be rethought in more complex terms. Collectively, the book chapters challenge hegemonic narratives that have become an established part of South Africa's national discourse since 1994. By opening up debate around controversial or obscured aspects of the ANC's century-long history, One hundred years of the ANC sets out an agenda for future research. The book is directed at a wide readership with an interest in understanding the historical roots of South Africa's current politics will find this volume informative. This book is based on a selection of papers presented at the One Hundred Years of the ANC: Debating Liberation Histories and Democracy Today Conference held at the University of Witwatersrand, Johannesburg from 20-23 September 2011.

If you drive through Mpumalanga with an eye on the landscape flashing by, you may see, near the sides of the road and further away on the hills above and in the valleys below, fragments of building in stone as well as sections of stone-walling breaking the grass cover. Endless stone circles, set in bewildering mazes and linked by long stone passages, cover the landscape stretching from Ohrigstad to Carolina, connecting over 10 000 square kilometres of the escarpment into a complex web of stone-walled homesteads, terraced fields and linking roads. Oral traditions recorded in the early twentieth century named the area Bokoni - the country of the Koni people. Few South Africans or visitors to the country know much about these settlements, and why today they are deserted and largely ignored. A long tradition of archaeological work which might provide some of the answers remains cloistered in universities and the knowledge vacuum has been filled by a variety of exotic explanations - invoking ancient settlers from India or even visitors from outer space - that share a common assumption that Africans were too primitive to have created such elaborate stone structures. Forgotten World defies the usual stereotypes about backward African farming methods and shows that these settlements were at their peak between 1500 and 1820, that they housed a substantial population, organised vast amounts of labour for infrastructural development, and displayed extraordinary levels of agricultural innovation and productivity. The Koni were part of a trading system linked to the coast of Mozambique and the wider world of Indian Ocean trade beyond. Forgotten World tells the story of Bokoni through rigorous historical and archaeological research, and lavishly illustrates it with stunning photographic images.

This is a story of human survival over the last one million years in the Namib Desert – one of the most hostile environments on Earth.

The resilience and ingenuity of desert communities provides a vivid picture of our species’ response to climate change, and ancient strategies to counter ever-present risk. Dusty fragments of stone, pottery and bone tell a history of perpetual transition, of shifting and temporary states of balance.

Namib digs beneath the usual evidence of archaeology to uncover a world of arcane rituals, of travelling rain-makers, and of intricate social networks which maintained vital systems of negotiated access to scarce resources. It covers a million years of human history in the Namib Desert, including the Earlier, Middle and Later Stone Ages, colonial occupation and genocide, to the invasion of the desert by South African troops during World War I.

This is more than a work of scientific research; it is a love-song to the desert and its people.

In Media in Postapartheid South Africa, author Sean Jacobs turns to media politics and the consumption of media as a way to understand recent political developments in South Africa and their relations with the African continent and the world. Jacobs looks at how mass media defi nes the physical and human geography of the society and what it means for comprehending changing notions of citizenship in postapartheid South Africa. Jacobs claims that the media have unprecedented control over the distribution of public goods, rights claims, and South Africa's integration into the global political economy in ways that were impossible under the state-controlled media that dominated the apartheid years. Jacobs takes a probing look at television commercials and the representation of South Africans, reality television shows and South African continental expansion, soap operas and postapartheid identity politics, and the internet as a space for reassertions and reconfi gurations of identity. As South Africa becomes more integrated into the global economy, Jacobs argues that local media have more weight in shaping how consumers view these products in unexpected and consequential ways.

Although widely known as the Afrikaner communist who saved Nelson Mandela from the gallows, very little is known about Bram Fischer the man. Fischer was a respected Senior Advocate at the Johannesburg Bar who chose to side with the oppressed and went underground to join the armed struggle. He was arrested on 5 November 1965 after almost ten months on the run. 'I owed it to the political prisoners, to the banished, to the silenced and to those under house arrest not to remain a spectator, but to act.' These words spoken by Bram Fischer in his statement from the dock during his treason trial were followed by a life sentence. Scion of a proudly Afrikaner family that included a prime minister and a judge president of the Orange Free State, he would seem to be an unlikely hero of the liberation movement. Uncompromising in his political beliefs and driven by an unshakeable integrity and a commitment to the dream of a non-racial democracy, Fischer was also humorous, fun-loving and a family man, devoted to his wife and children. The many facets of this remarkable man are reflected in The Bram Fischer Waltz, Harry Kalmer's lyrical tribute. A brief and intense work, with the protagonist as narrator, this one person play takes the audience through a roller coaster of emotions as it tells Fischer's story. The play won The Standard Bank Silver Ovation Award when it premiered in English at 2013 the National Arts Festival in Grahamstown and was awarded the Adelaide Tambo Award for Human Rights in the Arts in 2014. The text is supplemented by a foreword by George Bizos and an introduction by the playwright, reflecting on the path that led him to write the play, and an afterword by Yvonne Malan, entitled 'The Power of Moral Courage'.

The radio in Africa has shaped culture by allowing listeners to negotiate modern identities and sometimes fast-changing lifestyles. Through the medium of voice and mediated sound, listeners on the station – known as Radio Bantu, then Radio Zulu, and finally Ukhozi FM – shaped new understandings of the self, family and social roles.

Through particular genres such as radio drama, fuelled by the skills of radio actors and listeners, an array of debates, choices and mistakes were unpacked daily for decades. This was the unseen literature of the auditory, the drama of the airwaves, which at its height shaped the lives of millions of listeners in urban and rural places in South Africa. Radio became a conduit for many talents squeezed aside by apartheid repression. Besides Winnie Mahlangu and K.E. Masinga and a host of other talents opened by radio, the exiles Lewis Nkosi and Bloke Modisane made a niche and a network of identities and conversations which stretched from the heart of Harlem to the American South. Nkosi and Modisane were working respectively in BBC Radio drama and a short-lived radio transcription centre based in London which drew together the threads of activism and creativity from both Black America and the African continent at a critical moment of the late empire.

Radio Soundings is a fascinating study that shows how, throughout its history, Zulu radio has made a major impact on community, everyday life and South African popular culture, voicing a range of subjectivities which gave its listeners a place in the modern world.

The notion that societies mediate issues through certain kinds of engagement is at the heart of the democratic project and often centres on an imagined public sphere where this takes place. But this imagined foundation of how we live collectively appears to have suffered a dramatic collapse across the world in the digital age, with many democracies apparently unable to solve problems through talk - or even to agree on who speaks, in what ways and where. In this timely and erudite collection, writers from southern Africa combine theoretical analysis with the examination of historical cases and contemporary events to demonstrate that forms of publicness are multiple, mobile and varied.

Drawing primarily on insights and materials from Africa for their capacity to speak to global developments, the authors in this volume propose new concepts and methodologies to analyse how public engagements work in society. The contributions examine charged examples from the Global South, such as the centuries old Timbuktu archive, Nelson Mandela's powerful absent presence in 1960s public life, and the contemporary debates around the 2015/2016 student activism of #rhodesmustfall and #feesmustfall. These cases show how issues of public discussion circulate in unpredictable ways.

Babel Unbound will be of interest to anyone looking to find alternative ways of thinking about publicness in contemporary society in order to make better sense of the cacophony of conversations in circulation.

Practical Anatomy is designed to enable novice anatomists to grasp the biological background of the human anatomy while understanding its complexity within the clinical context. As a guide to the dissection of the human cadaver, it provides an account of the biological and systemic foundations of the human body. In keeping with the tradition of its predecessor this revised edition is primarily aimed at undergraduate allied health sciences and medical students who are encountering dissection for the first time and are intimidated by the volume of information to be understood. In addition, some dissections of more complex regions of the anatomy have been integrated into the text for more advanced students. This version has built on the solid foundation of the first edition of Practical Anatomy and Man’s Anatomy, incorporating all the features unique to these texts while updating the methodology and including the latest anatomical terminology as outlined in the Terminologia Anatomica. The text and illustrations have been simplified to provide a clear, concise and accessible dissection guide.

Nuruddin Farah is widely regarded as one of the most sophisticated voices in contemporary world literature. Michel Foucault is revered as one of the most important thinkers of the twentieth century, with his discursive legacy providing inspiration for scholars working in a range of interdisciplinary fields. The Disorder of Things offers a reading of the Somali novelist through the prism of the French philosopher. The book argues that the preoccupations that have remained central throughout Farah's forty year career, including political autocracy, female infibulation, border conflicts, international aid and development, civil war, transnational migration and the Horn of Africa's place in a so-called 'axis of evil', can be mapped onto some key concerns in Foucault's writing most notably Foucault's theoretical turn from 'disciplinary' to 'biopolitical' power. In both the colonial past and the postcolonial present, Somalia is typically represented as an incubator of disorder: whether in relation to internecine conflict, international terrorism or contemporary piracy. Through his work, both fictional and non-fictional, Farah strives to present alternative stories to an expanding global readership. The Disorder of Things analyses the politics and poetics that underpin this literary project, beginning with Farah's first fictional cycle, Variations on the Theme of an African Dictatorship (1979-1983), and ending with his Past Imperfect trilogy (2004-2011). Farah's writing calls for a more refined, substantial reading of our current geo-political situation. As such, it both warrants and compels the kind of critical engagement foregrounded throughout The Disorder of Things. This book will appeal to students, academics and general readers with an interest in the interdisciplinary study of literature. Its engagement with theorists, drawn from postcolonial, feminist and development studies, set against the backdrop of a host of philosophical and sociological discourses, shows how such intellectual cross-fertilisation can enliven a single-author study.

At the very start of South Africa's constitutional democracy, openness and transparency had a special place. Reacting against the secrecy of apartheid, the veils would be lifted in a newly open society. And indeed South Africa's access to information law - the Promotion of Access to Information Act, a direct result of the constitutional negotiations - is without parallel in the world. But bureaucracies and their cultures don't change easily. Habits of secrecy die hard and perhaps hardest where institutional capacity is low and organisational resources are scarce. Working against such obstacles, a few valiant organisations including the South African History Archive (SAHA) have been working to push back the entrenched modes of secrecy and instantiate the realm of open democracy. Drawing on the experience of SAHA, the chapters of Paper Wars will be the place to start for any serious scholar or dedicated activist seeking to understand the experience and place of South Africa in the global diffusion of freedom of information regimes. Despite having the law on their side, this book details the difficulties the information activists and requesters have encountered as they have attempted to put South Africa's constitutional right of access to information into practice. Containing essays and case studies, the volume will stand as the record of the initial implementation (or lack thereof) of South Africa's right to know law.

My Life is based on the diaries of five South African girls who were growing into womanhood in 1994. The perspective of each young woman on her country and her people is conveyed with a mixture of naivety, exuberance, warmth and humour. A small Karoo town provides the setting for Valley Song, which explores the theme of youth in search of itself, and provides a lyrical metaphor for the new South Africa in which it was set, and has been termed one of Fugard’s most endearing plays.

From the young mining town of Johannesburg came ideas of peaceful struggle which spread across the world. Formulated by Mohandas Gandhi in the early 1900s, the philosophy of Satyagraha (soul force or passive resistance) became an inspiration to millions all over the world. For a decade, during the formative years of his philosophy, Gandhi lived in and around Johannesburg where he established a prosperous law practice, though his legal work was soon overtaken by his political activism in support of Indian rights. During that decade, he made the streets and suburbs of the city his own, changing homes frequently and walking tirelessly. Tolstoy Farm and other places and buildings captured in words and pictures in this evocative book are landmarks of Ghandi’s personal and political growth. The sites featured span huge social divides, from slums and shanties of the old Indian Location to the comfortable suburbs reserved for whites. Considered as a whole, they and the events surrounding them are an essential part of the Gandhian experience.

Bill Freund, the late social historian and leading analyst of African history, passed away in 2020 soon after finishing his autobiography. Often described as the academy’s ‘outsider insider’, he was an eminent South African historian who published prodigiously in the areas of labour, capital and economic history. What influenced this American-educated academic to become such an astute and trusted observer of the political economy in Africa?

In this deeply introspective autobiography, we follow Bill’s intellectual journey from a modest Jewish home in Chicago in the 1950s – where new vistas were opened up through voracious reading, inspiring teachers and intellectual engagement – to the Universities of Chicago, Yale, Ahmadu Bello, Dar es Salaam and Harvard, and finally to a permanent teaching position at the University of KwaZulu-Natal in Durban, South Africa in 1985. Freund begins with his family’s fascinating history in Habsburg Austria, describes émigré life in the USA, and provides astute reflections on his teaching experiences. Peppered in between the commentaries on academic life are stories of his travels, poems he wrote for loved ones, and endearing anecdotes of friendships that shaped his life.

Freund offers rich insights into the world of Africanists and their scholarship on different continents, as well as thoughtful and balanced observations on late- and post-apartheid South Africa. His autobiography reveals the intellectual man and the world that shaped him – and which he in turn influenced through a deep commitment to rigorous scholarship. It includes a select bibliography of his many publications as well as a foreword by Robert Morrell on the making of this book.

Politics and Community-Based Research: Perspectives from Yeoville Studio, Johannesburg provides a textured analysis of a contested urban space that will resonate with other contested urban spaces around the world and challenges researchers involved in such spaces to work in creative and politicised ways.

This edited collection is built around the experiences of Yeoville Studio, a research initiative based at the School of Architecture and Planning at the University of the Witwatersrand, Johannesburg. Through themed, illustrated stories of the people and places of Yeoville, the book presents a nuanced portrait of the vibrance and complexity of a post-apartheid, peri-central neighbourhood that has often been characterised as a ‘slum’ in Johannesburg. These narratives are interwoven with theoretical chapters by scholars from a diversity of disciplinary backgrounds, reflecting on the empirical experiences of the Studio and examining academic research processes.

These chapters unpack the engagement of the Studio in Yeoville, including issues of trust, the need to align policy with lived realities and social needs, the political dimensions of the knowledge produced and the ways in which this knowledge was, and could be used.

Volume 4 of Visual Century: South African Art in Context 1907-1948 is part of a four-volume publication that reappraises South African visual art of the twentieth century from a postapartheid perspective. The years 1990 to 2007 are covered in Volume 4, edited by Thembinkosi Goniwe, Mario Pissarra and Mandisi Majavu. The end of the Cold War and subsequent emergence of globalisation, along with the advent of democracy in South Africa introduced new social and political orders, with profound implications for South African artists. Concurrently, the persistence of economic inequalities and conflicts within and beyond national borders constantly mitigated against an unbridled celebration of `freedom'. The essays in this volume critically address some of the most notable developments and visible trends in postapartheid South African art. These include South Africa's entry into the international art community, its struggle to address its past, and artists' persistent and often provocative preoccupations with individual and collective identity. The widespread and often unsettling representation of human bodies, as well as animal forms, along with the steady increase in use of new technologies and the development of new forms of public art are also discussed. While much of the art of the period is open-ended and non-didactic, the persistence of engagement with socially responsive themes calls into question the reductive binary between `resistance' and post-apartheid art that has come to dominate accounts of `before' and `after'.

The dominant news media is often accused of reflecting an 'elite bias', privileging and foregrounding the interests of a small segment of society, while ignoring the narratives of the majority. Tell Our Story investigates the problem of disproportionate media representation and offers a hands-on demonstration of listening journalism and research in practice to promote a more active engagement between journalists and local communities. In the process the authors dismiss the idea that some groups are voiceless, arguing that what is often described is a matter of those groups being deliberately ignored. The authors focus on three communities in South Africa, each presenting with differing but crucial historical, geographical and socio-political 'characteristics' of the post-1994 period. Adopting an audience-centred approach, the authors delve into the life and struggle narratives of each community. They expose the divides between the stories as told by the people in the community who have lived experience of these events, and the way in which these stories are understood and shaped by the media. The implications of the media's routine misrepresentation of the voices of the marginalised and poor for media diversity, media credibility and ethics, media education and training, as well as media research are unpacked and the authors offer a useful set of practical guidelines for journalists on the practice of listening journalism.

Early hearing detection and intervention (EHDI) is the gold standard for any practising audiologist, and for families of infants and children with hearing impairment. EHDI programmes aim to identify, diagnose and provide intervention to children with hearing impairment from as early as six months old (as well as those at risk for hearing impairment) to ensure they develop and achieve to their potential. Yet EHDI remains a significant challenge for Africa, and various initiatives are in place to address this gap in transferring policy into practice within the southern African context. The diversity of factors in the southern African context presents unique challenges to teaching and research in this field, which has prompted this book project. The South African government's heightened focus on increasing access to health care which includes ongoing Early Childhood Development (ECD) programmes, make this an opportune time for establishing and documenting evidence-based research for current undergraduate and postgraduate students. Early Detection and Intervention in Audiology: An African Perspective aims to address this opportunity. Grounded in an African context with detailed case studies, this book provides rich content that pays careful attention to contextual relevance and contextual responsiveness to both identification and intervention in hearing impairment. With diverse contributions from experts in local and international contexts, but always with an African perspective, this is textbook will be an invaluable resource for students, researchers and practitioners.

""This is a stimulating book, which covers much new material Scholarship on sub-Saharan Africa is very thinly theorized. Few scholars seem to have the range to make connections with art practice elsewhere and generally offer interpretations which struggle to get beyond ethnographic documentation. Few monographs engage with the wider debates. This book is an exception.""
--John Mack, Professor, University of East Anglia (UK)

"African Dream Machines" takes African headrests out of the category of functional objects and into the more rarefied category of "art" objects. Styles in African headrests are usually defined in terms of Western art and archaeological discourses, but this book interrogates these definitions and demonstrates the shortcomings of defining a single formal style model as exclusive to a single ethnic group.

This book has been in the making for fifteen years, starting with research on the traditional woodcarving of the Shona-and Venda-speaking peoples of Zimbabwe and South Africa. Among the artifacts made by South African peoples, headrests were the best known and during a year spent in Europe in 1975-1976, Anitra Nettleton discovered museum stores full of unacknowledged masterpieces made by speakers of numerous Southern African languages. A Council Fellowship from the University of the Witwatersrand in 1990 enabled the writer to develop an archive in the form of notes, photographs, and sketches of each and every headrest she encountered. Many examples from South African collections were added from the early 1990s onwards, expanding the field vastly. Nettelton executed drawings of each and every headrest encountered, and they became a major part of the project in their own right.

"African Dream Machines" questions the assumed one-to-one relationship between formal styles and ethnic identities or classifications. Historical factors are used to demonstrate that "authenticity," in the form sought by collectors of antique African art, is largely a construct.

"Anitra Nettleton" is a professor in the Wits School of Arts, Johannesburg (South Africa). This manuscript was awarded the University of the Witwatersrand Research Committee Publication Award in 2006.

Racism after Apartheid, volume four of the Democratic Marxism series, brings together leading scholars and activists from around the world studying and challenging racism. In eleven thematically rich and conceptually informed chapters, the contributors interrogate the complex nexus of questions surrounding race and relations of oppression as they are played out in the global South and global North. Their work challenges Marxism and anti-racism to take these lived realities seriously and consistently struggle to build human solidarities.

Photography and History in Colonial Southern Africa is a rich and in-depth study of the relationship between photography and colonial history at the turn of the 20th century. Lorena Rizzo highlights the ways in which photographic images cut across conventional institutional boundaries and complicates rigid distinctions between the private and the public, the political and the aesthetic, the colonial and the vernacular, and the subject and the object.

Rizzo argues that rather than understanding photographs primarily as a means of preserving and recreating the past in the present, we can also value them for how they evoke at once the need for and the limits of historical reconstruction.

The work is rich in detail. Readers will encounter photographs that range from prison albums from late 19th century Cape Town; police photographs from German Southwest Africa (Namibia) in the early 20th century; studio portraits commissioned by African women and men who applied for identity documents, travel permits and passports in the 1920s and 1930s; South African dompas photographs from the 1950s and 1960s; to African women collections assembled in the locations of Windhoek and Usakos in central Namibia, and aerial photography in the Eastern Cape in the mid-20th century.

It is an important contribution to the area of photography and history. It will enhance further study into constructions of whiteness and blackness and the different modes in which the imperial project operated across borders.

Although Marx's writings on social transformation figured prominently in the global Left imagination for more than 150 years, by the late 20th century the relevance of Marxism was under question by both the Left (including Marxists) and the Right. Its revival in the second decade of the 21st century is finding new sources of inspiration and creativity from movements that believe that "another world is possible" through democratic, egalitarian, and ecological alternatives to capitalism built by ordinary people. The Marxism of many of these movements is not dogmatic or prescriptive, but open, searching, utopian. It revolves around four primary factors: the importance of democracy for an emancipatory project, the ecological limits of capitalism, the crisis of global capitalism, and the learning of lessons from the failures of Marxist-inspired experiments. This edited book introduces some contemporary approaches to Marxism. It shows how the 21st century has seen enormous creativity from movements that seek to overcome the weaknesses of the past by forging fundamentally new approaches to politics that draw inspiration from Marxism along with many other anticapitalist traditions such as feminism, ecology, anarchism, and indigenous traditions. Featuring leading thinkers from the Left, the book offers provocative ideas on interpreting our current world and will serve as an excellent reference book to introduce a new way of thinking about Marxism to students and scholars in the field.