"We, the readers and students of literature, have been hijacked. The literary critics, our teachers, those assassins of culture, have put us up against the wall and held us captive." So begins Jonah Raskin's The Mythology of Imperialism. When first published in 1971, this book was nothing short of a call to arms, an open revolt against the literary establishment. In his critique of five well-known British writers--Joseph Conrad, Rudyard Kipling, D. H. Lawrence, E. M. Forster, and Joyce Cary--Raskin not only developed the model for a revolutionary anti-imperialist criticism, but, through this book's influence on Edward Said, helped usher in the field of postcolonial studies.

Nearly four decades later, The Mythology of Imperialism is all the more relevant. Its readings of British literature still offer bold and original insight into the relationship between text, artist, and historical context. But, perhaps more crucially, this book sends a revolutionary message to all readers and students of literature. Against much of today's postcolonialism--diluted by postmodern obfuscation and largely detached from its historical roots--Raskin locates the center of his anti-imperialist criticism in the anti-imperialist struggle itself and takes his cues not from "the assassins of culture" in the academy but from the national liberation movements of his time.

Written with absorbing passion and machete-sharp analysis, this new edition of The Mythology of Imperialism includes the original text, a new introduction and afterword by the author, and a preface by Bruce Robbins.

"We, the readers and students of literature, have been hijacked. The literary critics, our teachers, those assassins of culture, have put us up against the wall and held us captive." So begins Jonah Raskin's The Mythology of Imperialism. When first published in 1971, this book was nothing short of a call to arms, an open revolt against the literary establishment. In his critique of five well-known British writers--Joseph Conrad, Rudyard Kipling, D. H. Lawrence, E. M. Forster, and Joyce Cary--Raskin not only developed the model for a revolutionary anti-imperialist criticism, but, through this book's influence on Edward Said, helped usher in the field of postcolonial studies.

Nearly four decades later, The Mythology of Imperialism is all the more relevant. Its readings of British literature still offer bold and original insight into the relationship between text, artist, and historical context. But, perhaps more crucially, this book sends a revolutionary message to all readers and students of literature. Against much of today's postcolonialism--diluted by postmodern obfuscation and largely detached from its historical roots--Raskin locates the center of his anti-imperialist criticism in the anti-imperialist struggle itself and takes his cues not from "the assassins of culture" in the academy but from the national liberation movements of his time.

Written with absorbing passion and machete-sharp analysis, this new edition of The Mythology of Imperialism includes the original text, a new introduction and afterword by the author, and a preface by Bruce Robbins.

Written as a cultural weapon and a call to arms, "Howl "touched a raw nerve in Cold War America and has been controversial from the day it was first read aloud nearly fifty years ago. This first full critical and historical study of "Howl "brilliantly elucidates the nexus of politics and literature in which it was written and gives striking new portraits of Allen Ginsberg, Jack Kerouac, and William Burroughs. Drawing from newly released psychiatric reports on Ginsberg, from interviews with his psychiatrist, Dr. Philip Hicks, and from the poet's journals, "American Scream "shows how "Howl "brought Ginsberg and the world out of the closet of a repressive society. It also gives the first full accounting of the literary figuresOCoEliot, Rimbaud, and WhitmanOCowho influenced "Howl, "definitively placing it in the tradition of twentieth-century American poetry for the first time. As he follows the genesis and the evolution of "Howl, "Jonah Raskin constructs a vivid picture of a poet and an era. He illuminates the development of Beat poetry in New York and San Francisco in the 1950s--focusing on historic occasions such as the first reading of "Howl "at Six Gallery in San Francisco in 1955 and the obscenity trial over the poem's publication. He looks closely at Ginsberg's life, including his relationships with his parents, friends, and mentors, while he was writing the poem and uses this material to illuminate the themes of madness, nakedness, and secrecy that pervade "Howl."A captivating look at the cultural climate of the Cold War and at a great American poet, "American Scream "finally tells the full story of "Howl"OCoa rousing manifesto for a generation and a classic of twentieth-century literature."

ROCK 'N' ROLL BROKE INTO MY LIFE when a teenage girl older than I blasted Bo Diddley on her record player. She was a dishwasher with curly hair. I heard the music come out of her bedroom window and could not get it out of my head. Later, at school at lunch hour in the gym when guys danced with girls, I heard Carl Perkins and I haven't been the same person since. I had grown up on folk music and on rhythm and blues-I played Leadbelly records everyday for a year-and rock 'n' roll sounded in my ears as though it had come out of black bars, the black ghetto, and the juke joints of the South. Soon after the British Invasion of the 1960s, when rock 'n' roll bands such as the Beatles and the Stones, came to the States, I went to England and lived with an American who played the guitar and sang the blues in British pubs. When I came back home and started teaching literature, I attended rock concerts on campus with tens of thousands of students and heard The Beach Boys, the Jefferson Airplane, and other bands. Mostly, I listened to rock 'n' roll with others, rarely by myself, and often in the company of women, many of whom show up in these poems and to whom I mean to remember and to pay homage. Moreover, I wrote these poems explicitly for the purpose of performing them in public and so I have paid particular attention to the sounds of the words on the page. Hopefully you'll hear music in the background even when you read this work quietly at home. About thirty women show up in Rock 'n' Roll Women plus one man. I didn't want to leave men out completely; some might say that the one man I have included isn't a very good example of American manhood. To that I would say, I am not trying to provide good examples of anything. Rather, I aim to capture a specific person, place, and time from the 1950s to the present day when I'm still likely to listen to rock 'n' roll on CD or on radio stations such as KWMR that broadcasts from Point Reyes Station in Marin and that must know that I'm listening and that there are others out here beside me who want to hear rock 'n' roll, too.

'Sooner or later, nearly everyone who cares about wine and food comes to Sonoma' - so begins this lively excursion to a spectacular region that has become known internationally as a Locavore's paradise. Part memoir, part vivid reportage, "Field Days" chronicles the renaissance in farming organically and eating locally that is unfolding in Northern California. Jonah Raskin tells of the year he spent on Oak Hill Farm - working the fields, selling produce at farmers' markets, and following it to restaurants. He also goes behind the scenes at Whole Foods. In this luminous account of his experiences, Raskin introduces a dynamic cast of characters - farmers, chefs, winemakers, farm workers, and environmentalists. They include such luminaries as: Warren Weber at Star Route Farm, the oldest certified organic farm in Marin County; Bob Cannard, who has supplied Chez Panisse with vegetables for decades; Sharon Grossi, the owner of the largest organic farm in Sonoma; and, Craig Stoll, the founder and executive chef at Delfina in San Francisco. Raskin also offers portraits of renowned historical figures, including Luther Burbank, Jack London, and M.F.K. Fisher. "Field Days" is a heartfelt celebration of the farm-to-table movement and its cultural reverberations.

"This splendid volume does more than reinstate Jack London as a leading voice of the American cultural left. Jonah Raskin documents how London struggled to reconcile his political and his personal desires, creating memorable art but failing to save himself. One of the world's most popular writers comes alive, in all his passion and agony."--Michael Kazin, author of "A Godly Hero: The Life of William Jennings Bryan"
"Interest in Jack London never flags. This first-rate anthology places London at the epicenter of the American radical tradition."--Kevin Starr, University of Southern California
"In this well conceptualized anthology, Jonah Raskin has resurrected works that have been unavailable for decades, making "The Radical Jack London" a very timely presence for the twenty-first century. Raskin's own writing is forceful and engaging, and he is unblinkingly honest about London as person and as writer, never succumbing to romanticizing or whitewashing the picture of either."--H. Bruce Franklin, John Cotton Dana Professor of English and American Studies, Rutgers University
"Jack London always knew how to bang a righteous drum of social indignation, and in "The Radical Jack London" he can make your heart pound even today."--Paul Berman, author of "Power and the Idealists "and editor of "Carl Sandburg: Selected Poems"

"Raskin's biography of Abbie Hoffman pleases precisely because it does not evade the ambiguities of that wild time. For a cynical age, Raskin evokes some of its innocent pleasures: great rock-and-roll, movements against injustices, exuberant sex."--Jonathan Rieder, "New York Times Book Review

"As much a corrective to a New Left history of the time as a biography of Abbie Hoffman, the wildest of the wildmen...Raskin's book is arranged like a series of filmed calender pages; behind the pages stand descriptions as vivid as movies of the formative influences moving with lightning speed across those few amazing years while Abbie, and the rhetoric inside him, grew apace."--Vivian Gornick, "The Nation

"Hoffman remains one of the most vivid figures in an era that specialized in them...It would be very hard to read his life's story and not be affected by it."--Jonathan Yardley, "Washington Post

"The book takes [Hoffman], his w ritings, and his politics seriously...Well-researched, well-reported, well-illustrated, and scrupulously documented."--Bruce McCabe, "Boston Globe

"Not only a biography of an individual...but a fully rounded portrait of that era...Hoffman remains an utterly fascinating American icon, one of the most important performance-art patriots of our time."--Bernard Weiner, "San Francisco Chronicle