Böcker utgivna av PM Press

We are witnessing a new surge of interpersonal and institutional violence against women, including new witch hunts. This surge of violence has occurred alongside an expansion of capitalist social relation. In this new work that revisits some of the main themes of Caliban and the Witch, examines the root causes of these developments and outlines the consequences for the women affected and their communities. She argues that, no less than the witch hunts in sixteenth and seventeenth century Europe and the New World, this new war on women is a structural element of the new forms of capitalist accumulation. These processes are founded on the destruction of people's most basic means of reproduction. Like at the dawn of capitalism, what we discover behind today's violence against women are processes of enclosure, land dispossession, and the remoulding of women's reproductive activities and subjectivity. As well as an investigation into the causes of this new violence, the book is also a femi

Queercore: How to Punk a Revolution: An Oral History is the very first comprehensive overview of the movement that defied both the music underground and the LGBT mainstream community-queercore.Through exclusive interviews with protagonists like Bruce LaBruce, G.B. Jones, Jayne County, Kathleen Hanna of Bikini Kill and Le Tigre, film director and author John Waters, Lynn Breedlove of Tribe 8, Jon Ginoli of Pansy Division, and many more, alongside a treasure trove of never-before-seen photographs and reprinted zines from the time, Queercore traces the history of a scene originally "fabricated" in the bedrooms and coffee shops of Toronto and San Francisco by a few young, queer punks to its emergence as a relevant and real revolution. Queercore gets a down-to-details firsthand account of the movement explored through the people that lived it-from punk's early queer elements, to the moments Toronto kids decided they needed to create a scene that didn't exist, to the infiltration of the mainstream by Pansy Division, and the emergence of riot grrrl as a sister movement-as well as the clothes, zines, art, film, and music that made this movement an exciting in-your-face middle finger to complacent gay and straight society. Queercore will stand as both a testament to radically gay politics and culture and an important reference for those who wish to better understand this explosive movement.

Written between 1974 and 2012, Revolution at Point Zero collects forty years of research and theorising on the nature of housework, social reproduction, and women's struggles on this terrain - to escape it, to better its conditions, to reconstruct it in ways that provide an alternative to capitalist relations. Indeed, as Federici reveals, behind the capitalist organisation of work and the contradictions inherent in alienated labour is an explosive ground zero for revolutionary practice upon which are decided the daily realities of our collective reporduction. Beginning with Federici's organisational work in the Wages for Housework movement, the essays collected here unravel the power and politics of wide but related issues including the international restructuring of reproductive works and its effects on the sexual division of labour, the globalisation of care work and sex work, the crisis of elder care, the development of affective labour, and the politics of the commons. this new and expanded edition contains two previously unpublished essays by the authors.

The Earth has reached a tipping point. Runaway climate change, the sixth great extinction of planetary life, the acidification of the oceans-all point toward an era of unprecedented turbulence in humanity's relationship within the web of life. But just what is that relationship, and how do we make sense of this extraordinary transition?Anthropocene or Capitalocene? offers answers to these questions from a dynamic group of leading critical scholars. They challenge the theory and history offered by the most significant environmental concept of our times: the Anthropocene. But are we living in the Anthropocene, literally the "Age of Man"? Is a different response more compelling, and better suited to the strange-and often terrifying-times in which we live? The contributors to this book diagnose the problems of Anthropocene thinking and propose an alternative: the global crises of the twenty-first century are rooted in the Capitalocene, the Age of Capital.Anthropocene or Capitalocene? offers a series of provocative essays on nature and power, humanity, and capitalism. Including both well-established voices and younger scholars, the book challenges the conventional practice of dividing historical change and contemporary reality into "Nature" and "Society," demonstrating the possibilities offered by a more nuanced and connective view of human environment-making, joined at every step with and within the biosphere. In distinct registers, the authors frame their discussions within a politics of hope that signal the possibilities for transcending capitalism, broadly understood as a "world-ecology" that joins nature, capital, and power as a historically evolving whole.Contributors include Jason W. Moore, Eileen Crist, Donna J. Haraway, Justin McBrien, Elmar Altvater, Daniel Hartley, and Christian Parenti.

With appeal to more than just punk history obsessives, Orstralia offers an unprecedented snapshot of an underacknowledged segment of Australian life and history.Far from punk’s more modish North Atlantic core in the late 1970s, discontented youth in Australia were enacting similar musical and cultural reckonings. Yet in spite of the Australia's purported “laid-back” national demeanour, punks there were routinely met with insult, fist, or the police baton.More subterranean than the national scandal that was punk back in “homeland” Britain, Australia’s own bands nonetheless came to be heralded internationally. Orstralia represents the first definitive account of the country’s initial years, from progenitors the Saints and Radio Birdman in the mid-70s, through the emergence of hardcore in the 1980s, to the stylistic diffusion that accompanied transition to the 1990s.Based on over 130 interviews, Orstralia documents the most renowned to the most fleeting and obscure acts the nation produced. Included are equally engrossing and shocking personal narratives befitting such a passionate and intemperate cultural form, as well as punk’s placement within broader Australian society at the time.

Working Class History presents a distinct selection of people''s history through hundreds of ''on this day in history'' anniversaries that are as diverse and international as the working class itself. Going day by day, this book paints a picture of how and why the world came to be as it is, how some have tried to change it, and the lengths to which the rich and powerful have gone to maintain and increase their wealth and influence.

The Sociology of Freedom is the fascinating third volume of a five-volume work titled the manifesto of the democratic civilisation. The general aim of the two earlier volumes was to clarify what power and capitalist modernity entailed. Here Ocalan presents his stunningly original these of the Democratic Civilisation, based on his criticism of the Capitalist Modernity. Ambitions in scope and encyclopaedic in execution, The Sociology of Freedom is a one-of-a-kind exploration that reveals the remarkable range of one of the Left's most original thinkers with topics such as existence and freedom, nature, and philosophy, anarchism and ecology. Ocalan goes back to the origins of human culture to present a penetrating reinterpretation of the basic problems facing the twenty-first century and an examination of their solutions. Ocalan convincingly argues that industrialism, capitalism, and the nation-state cannot be conquered within the confines of a socialist context.

Anarchy Comics: The Complete Collection brings together the legendary four issues of Anarchy Comics (1978–1986), the underground comic that melded anarchist politics with a punk sensibility, producing a riveting mix of satire, revolt, and artistic experimentation. This international anthology collects the comic stories of all thirty contributors from the U.S., Great Britain, France, Germany, Netherlands, Spain, and Canada.In addition to the complete issues of Anarchy Comics, the anthology features previously unpublished work by Jay Kinney and Sharon Rudahl, along with a detailed introduction by Kinney, which traces the history of the comic he founded and provides entertaining anecdotes about the process of herding an international crowd of anarchistic cats.Contributors include: Jay Kinney, Yves Frémion, Gerhard Seyfried, Sharon Rudahl, Steve Stiles, Donald Rooum, Paul Mavrides, Adam Cornford, Spain Rodriguez, Melinda Gebbie, Gilbert Shelton, Volny, John Burnham, Cliff Harper, Ruby Ray, Peter Pontiac, Marcel Trublin, Albo Helm, Steve Lafler, Gary Panter, Greg Irons, Dave Lester, Marion Lydebrooke, Matt Feazell, Pepe Moreno, Norman Dog, Zorca, R. Diggs (Harry Driggs), Harry Robins, and Byron Werner.

A gothic horror tale of severe mental distress and punk rock, The Primal Screamer is written in the form of a diary kept by a psychiatrist, Dr. Rodney H. Dweller, concerning his patient, Nathaniel Snoxell, brought to him in 1979 after a series of attempted suicides. Snoxell gets involved in the nascent UK anarcho-punk scene, recording and playing gigs in squatted anarchist centres. In 1985, the good doctor himself 'goes insane' and disappears.This semi-autobiographical novel by singer, guitarist, lyricist and illustrator Nick Blinko features his unique artwork.

Tired of handwringing reports about “lost” and “disappearing” New York? These dispatches show a different side of the city—resilient and flourishing despite the naysayers and high rent. Like a modern-day Joseph Mitchell, Cometbus visits projectionists studying Chinese in their booths, prophets whose pulpits are illegal sublets, and personal assistants who rule the roost once their bosses are out of sight. Readers get a tour of the downtown photographers and the uptown UN missions, complete with a survey of their trash. Punk scientists make their living counting cards at casinos while Albanian waiters keep hidden horseshoe diners open all night. Cover art by Eisner Award winner Nate Powell.

Anarchy in the Big Easy is an anarchist graphic history of the quest for freedom in radical and revolutionary New Orleans.The story begins with the anarchic forces of nature creating the land and the cooperative indigenous communities that thrived before the European conquest. Next we see the revolt against domination through the Enslaved Peoples’ Uprising of 1811, the rise of maroon communities, the work of figures such as anarchist geographer Elisée Reclus and utopian revolutionary Joseph Déjacque, and the moving history of labor militancy—exemplified by the First International, the General Strike of 1892, and the rise of the International Workers of the World. The anarchic aspects of jazz are explored, including its birthplace, the famous red-light district of Storyville. Other episodes recount the history of the Black Panthers, including the legendary shootout in the Desire Project, and the important role anarchists played in the grassroots recovery after Hurricane Katrina. The often-subversive People’s Carnival is depicted, from the history of the Mardi Gras Indians through today’s anarchist marching Krewes. The book concludes with the recent struggle to take down the confederate monuments, and the growth of a decentralized, autonomous mutual aid movement.These stories are recounted by surregionalist writer Max Cafard and brought vividly to life through the striking images of comix artist Vulpes.

A house is more than four walls and a roof. From its design and production to the way it is sold, used, resold, and eventually demolished, it is crisscrossed by conflict. The Housing Monster is a scathing illustrated essay that takes one seemingly simple, everyday thing--a house--and looks at the social relations that surround it. Moving from intensely personal thoughts and interactions to large-scale political and economic forces, it reads alternately like a worker's diary, a short story, a psychology of everyday life, a historical account, an introduction to Marxist critique of political economy, and an angry flyer someone would pass you on the street. Starting with the construction site and the physical building of houses, the book slowly builds and links more and more issues together: from gentrification and city politics to gender roles and identity politics, from subcontracting and speculation to union contracts and negotiation, from individual belief, suffering, and resistance to structural division, necessity, and instability. What starts as a look at housing broadens into a critique of capitalism as a whole. The text is accompanied by clean black-and-white illustrations that are mocking, beautiful, and bleak. This new edition includes analysis situating and exploring the text's impact around the world by Lazo Ediciones in Argentina, Ben Kritikos in Scotland, and Sean KB in the US.

Life's stories are always prone to disruption and digression, thwarting the neat storybook narrative we love so much. Almost all of our stories follow the same basic pattern: beginning, middle, end: exposition, action and climax. It's a neat and tidy way of telling a story. But life's not like that, is it? Life is not neat and tidy, it doesn't obey the rules. Life's stories--like the stories told here in But, personal and impersonal, historical and contemporary--are punctuated by disruption, derailment, and digression. Stories where the good guys lose. Stories where the bad girls win. Stories that just stop in the middle. Stories that fizzle out or simply never get going. Stories that don't make sense. Stories that start where they should end and end where they start. Stories that go round in a cyclical loop, forever. Unfinished stories. Unstarted stories. Stories that stutter and mumble, that cough and splutter. That's what we have here in this book: real stories, that do all of the above. That's why this book is called But. Because the but is there to disrupt the easy normality of the way we tell our stories. This book is a collection of stories about real lives, real people, and real life. Stuttering, wayward, disjointed, funny, ridiculous, and unplanned.

Life's stories are always prone to disruption and digression, thwarting the neat storybook narrative we love so much. Almost all of our stories follow the same basic pattern: beginning, middle, end: exposition, action and climax. It's a neat and tidy way of telling a story. But life's not like that, is it? Life is not neat and tidy, it doesn't obey the rules. Life's stories--like the stories told here in But, personal and impersonal, historical and contemporary--are punctuated by disruption, derailment, and digression. Stories where the good guys lose. Stories where the bad girls win. Stories that just stop in the middle. Stories that fizzle out or simply never get going. Stories that don't make sense. Stories that start where they should end and end where they start. Stories that go round in a cyclical loop, forever. Unfinished stories. Unstarted stories. Stories that stutter and mumble, that cough and splutter. That's what we have here in this book: real stories, that do all of the above. That's why this book is called But. Because the but is there to disrupt the easy normality of the way we tell our stories. This book is a collection of stories about real lives, real people, and real life. Stuttering, wayward, disjointed, funny, ridiculous, and unplanned.