Emma Goldman called Voltairine de Cleyre "the most gifted and brilliant anarchist woman America ever produced." Yet her writings and speeches on anarchism and feminism--as radical, passionate, and popular at the time as Goldman's--are virtually unknown today. This important book brings de Cleyre's eloquent and incisive work out of undeserved obscurity. Twenty-one essays are reprinted here, including her classic works: "Anarchism and the American Tradition," "The Dominant Idea," and "Sex Slavery." Three biographical essays are also included: two new ones by Sharon Presley and Crispin Sartwell, and a rarely reprinted one by Emma Goldman. At a time when the mainstream women's movement asked only for the right to vote and rarely challenged the status quo, de Cleyre demanded an end to sex roles, called for economic independence for women, autonomy within and without marriage, and offered a radical critique of the role of the Church and State in oppressing women. In today's world of anti-globalization actions, de Cleyre's anarchist ideals of local self-rule, individual conscience, and decentralization of power still remain fresh and relevant.

Sartwell presents an extreme and provocative philosophy of life. He explores what happens if we love this world precisely as it is, with all of its pain, with all of its evil, with all of its bizarre and arbitrary and monstrous thereness. In a highly personal and brutally direct style, Sartwell explores the themes of transgressive sexuality, political anarchism, addiction, death, and embodiment. The author engages contemporary and historical debates in cultural criticism, metaphysics, ethics, and political philosophy, and expresses deep suspicions about them. He asserts that scientific philosophical conceptualization is a movement toward death, a rejection of reality. Moral and political values - the ethical rejection of the particular precisely from within the particular - are, Sartwell claims, an assault on human authenticity. Thus, transgression - which is described as the affirmation of embodiment through obscenity - is something we radically require.

Beauty may be in the eye of the beholder, but it's also in the language we use and everywhere in the world around us. In this elegant, witty, and ultimately profound meditation on what is beautiful, Crispin Sartwell begins with six words from six different cultures - ancient Greek's 'to kalon', the Japanese idea of 'wabi-sabi', Hebrew's 'yapha', the Navajo concept 'hozho', Sanskrit 'sundara', and our own English-language 'beauty'. Each word becomes a door onto another way of thinking about, and looking at, what is beautiful in the world, and in our lives. In Sartwell's hands these six names of beauty - and there could be thousands more - are revealed as simple and profound ideas about our world and our selves.

For better or worse, Rorty has shaped the trajectory of academic philosophy. A decade after his passing, his legacy is ever present, especially in context of the growth of the far right, the struggle over the meaning of justice and equity, and the ecological crises we face. Edited by Randall Auxier, Eli Kramer, and Krzysztof Piotr Skowronski, Rorty and Beyond brings together leading international philosophers from the United States and Europe to reevaluate Rorty's legacy and explore what lies beyond his life and work. This collection covers a diverse territory, exploring Rorty's legacy regarding theories of truth, accounts of nature and naturalism, the historical situation of professional philosophy, the private and public aspects of religion, the place of literature in cultural politics, and points beyond Rorty, such as what we may hope for after his critical attack on certainty and ultimacy. Scholars, specialists, and those new to Rorty will all find insight, useful criticism, and edification in this volume.

Beauty may be in the eye of the beholder, but it's also in the language we use and everywhere in the world around us. In this elegant, witty, and ultimately profound meditation on what is beautiful, Crispin Sartwell begins with six words from six different cultures - ancient Greek's 'to kalon', the Japanese idea of 'wabi-sabi', Hebrew's 'yapha', the Navajo concept 'hozho', Sanskrit 'sundara', and our own English-language 'beauty'.

Each word becomes a door onto another way of thinking about, and looking at, what is beautiful in the world, and in our lives. In Sartwell's hands these six names of beauty - and there could be thousands more - are revealed as simple and profound ideas about our world and our selves.

Frederick Douglass, Harriet Jacobs, W.E.B. Du Bois, Zora Neale Hurston, Malcolm X - their words speak firmly, eloquently and personally of the impact of white America on the lives of African-Americans. Black autobiographical discourses, from the earliest slave narratives to contemporary urban raps, have each in their own way gauged and confronted the character of society. For Crispin Sartwell, as philosopher, cultural critic, and white male, these texts provide a rare opportunity of gaining access to the contents and core of white identity. There is, Sartwell contends, a fundamental elusiveness to that identity. Whiteness defines itself as normative, as a neutral form of the human condition, marking all other forms of identity as "racial" or "ethnic" deviations. Invisible to itself, white identity seeks to define its essence over and against those other identities, in effect defining itself through opposition and oppression. By maintaining fictions of black licentiousness, violence, and corruption, white identity is able to cast itself as humane, benevolent, and pure; the stereotype fabricates not only the oppressed but the oppressor as well. Sartwell argues that African-American autobiography perceives white identity from a particular and unique vantage point: one that is knowledgeable and intimate, yet removed from the white world and thus unencumbered by its obfuscating claims to normativity.

In End of Story, Crispin Sartwell maintains that the academy is obsessed with language, and with narrative in particular. Narrative has been held to constitute or explain time, action, value, history, and human identity. Sartwell argues that this obsession with language and narrative has become a sort of disease. Pitting such thinkers as Kierkegaard, Bataille, and Epictetus against the narrativism of MacIntyre, Ricoeur, and Aristotle, Sartwell celebrates the ways narratives and selves disintegrate and recommends a lapse into ecstatic or mundane incoherence. As the book rollicks through Wodehouse, Thoreau, the Book of Job, still-life painting, and Sartwell's autobiography, there emerges a hopeful if bizarre new sense of who we are and what we can be.

"I suggest that although at any given place and moment the aesthetic expressions of a political system just are that political system, the concepts are separable. Typically, aesthetic aspects of political systems shift in their meaning over time, or even are inverted or redeployed with an entirely transformed effect. You cannot understand politics without understanding the aesthetics of politics, but you cannot understand aesthetics as politics. The point is precisely to show the concrete nodes at which two distinct discourses coincide or connive, come apart or coalesce." from Political Aesthetics

Juxtaposing and connecting the art of states and the art of art historians with vernacular or popular arts such as reggae and hip-hop, Crispin Sartwell examines the reach and claims of political aesthetics. Most analysts focus on politics as discursive systems, privileging text and reducing other forms of expression to the merely illustrative. He suggests that we need to take much more seriously the aesthetic environment of political thought and action.

Sartwell argues that graphic style, music, and architecture are more than the propaganda arm of political systems; they are its constituents. A noted cultural critic, Sartwell brings together the disciplines of political science and political philosophy, philosophy of art and art history, in a new way, clarifying basic notions of aesthetics beauty, sublimity, and representation and applying them in a political context. A general argument about the fundamental importance of political aesthetics is interspersed with a group of stimulating case studies as disparate as Leni Riefenstahl's films and Black Nationalist aesthetics, the Dead Kennedys and Jeffersonian architecture."

Crispin Sartwell here unleashes a quick and brutal rejection of the traditional arguments for state legitimacy, and when he considers the classics of Western political philosophy - Hobbes, Locke, Rousseau, Hegel, Hume, Bentham, Rawls and Habernas, among others - he finds their positions not only wrong, but embarrassingly bad.