This letter expands on the reason for writing Philosophy and Revolution, and on the concepts of “woman as revolutionary reason as well as force” and “new forces and new passions” of revolution. It illuminates Dunayevskaya’s view of multilinearity in Marx’s late writings as a dimension of his concept of revolution in permanence concerning not only class but all social relations, and speaks to the question of method in today’s debates about sexuality, women’s liberation and new subjects of revolution.
Susan Van Gelder reviews the book “The Purpose of Power: How We Come Together When We Fall Apart” by Alicia Garza.
On Jan. 20 thousands marched, some again wearing “Pussy hats,” in the second annual Women’s March. Police decided beforehand to estimate the crowd at 50,000, though it was clear that many, many more were actually there in one of several huge marches in the Bay Area.
Reports from the huge Women’s March from participants in Chicago, Ill., Detroit, Mich., Oakland, Calif., Nashville, Tenn., Memphis, Tenn., Los Angeles, Calif., and New York City.
A report on several Transgender Day of Remembrance events held in New York City in November 2015.
Murdered Trans people of color remembered in Brooklyn, New York.
Report of a meeting of over 200 Transgender people, their allies and a handful of elected officials who came together at Hostos College in the Bronx in late July for a city- wide conference on the status and situation of Transgender people in New York City.
On Jan. 2, Gerda Lerner, a founding member of the National Organization for Women and history professor at the University of Wisconsin-Madison, died at the age of 92. She founded the first national graduate program in women’s history and a women’s studies program at Sarah Lawrence College in Bronxville, N.Y. She wrote The [=>]
The late Jayne Cortez was a major figure of the Black Arts Movement. She was a poet, musician and creative force unto herself. Born in Arizona, she was raised in Los Angeles’ Watts district. She married the great saxophonist Ornette Coleman in 1954.
Her work held “Free” at its center, its heart, as the great generation [=>]
Wherever the bird with no feet flew she found trees with no limbs. —Audre Lorde
It is audacious for Dee Rees to begin Pariah with an image of Black women that today’s film is all too comfortable with, a scantily-clad pole dancer, and then cut to her film’s protagonist, Alike, a character that has little precedent [=>]