Surrealism as a movement has always resisted the efforts of critics to confine it to any static definition--surrealists themselves have always preferred to speak of it in terms of dynamics, dialectics, goals, and struggles. Accordingly, surrealist groups have always encouraged and exemplified the widest diversity--from its start the movement was emphatically opposed to racism and colonialism, and it embraced thinkers from every race and nation.

Yet in the vast critical literature on surrealism, all but a few black poets have been invisible. Academic histories and anthologies typically, but very wrongly, persist in conveying surrealism as an all-white movement, like other "artistic schools" of European origin. In glaring contrast, the many publications of the international surrealist movement have regularly featured texts and reproductions of works by comrades from Martinique, Haiti, Cuba, Puerto Rico, South America, the United States, and other lands. Some of these publications are readily available to researchers; others are not, and a few fall outside academia's narrow definition of surrealism.

This collection is the first to document the extensive participation of people of African descent in the international surrealist movement over the past seventy-five years. Editors Franklin Rosemont and Robin D. G. Kelley aim to introduce readers to the black, brown, and beige surrealists of the world--to provide sketches of their overlooked lives and deeds as well as their important place in history, especially the history of surrealism.

Like everyone else, you dial and receive Wrong Numbers. But what do you make of them? And what do they make of you? What do these calls, universally regarded as irritating, tell us about the society we live in, about ourselves as individuals, and about the possibilities of social transformation. These are just a few of the many provocative questions raised by Rosemont in his new book. Along the way we are introduced to many 'Friends of Wrong Numbers' through the ages - Gnostics, heretics, alchemists, nonconformist thinkers, poets and jazz people, from Meister Eckhart, Eiranaeus Philalethese, and Giambattista Vico through Isidore Ducasse, Saint-Pol-Roux, and Neve Leona Boyd to Andre Breton, Sun Ra and Nicole Mitchell. A major contribution tot he critique of miserabilism and an uncompromising celebration of the Marvelous, this book helps chart the way toward a new and truly free society, ground in humankind's recovery of freedom now, poetry, equality, solidarity, generosity, ecological balance and the triumph of the pleasure principle! With drawings by Artur do Cruzeiro Seixas.

A leading figure in the Left Wing of the Socialist Party during the First World War, Mary E Marcy (1877-1922) was managing editor f the International Socialist Review, the most popular and influential revolutionary journal of the period. Collected here for the first time art articles detailing Marcy's penetrating analysis of the social/economic causes of war, and her libertarian socialist perspective on the struggle against war. Largely because of the articles in this book, the International Socialist Review was suppressed by the US government in 1918. As a summary of the revolutionary Marxist view of war, You Have No Country! is unexcelled. Written three quarters of a century ago, Marcy's hard-hitting critique is still as fresh as today's headlines. Edited and introduced by Franklin Rosemont.