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Every Country Gets the Fascism It Deserves
USD $ 5.00 USD $ 12.00Price range: USD $ 5.00 through USD $ 12.00Select options This product has multiple variants. The options may be chosen on the product pageEvery Country Gets the Fascism It Deserves
USD $ 5.00 USD $ 12.00Price range: USD $ 5.00 through USD $ 12.00Every Country Gets the Fascism It Deserves documents the systematic construction of xenophobic violence as a political project in post-apartheid South Africa. Richard Pithouse traces how the state, media and organised political forces have cultivated hatred against migrants, transforming social pain into organised cruelty.
The book begins with the May 2008 pogroms that killed 62 people and displaced 100,000, showing how the mob followed the logic of a state that had already begun dehumanising migrants. It documents the rise of the All Truck Drivers Foundation, which murdered more than 200 drivers in organised attacks, and the subsequent emergence of Operation Dudula and March and March—well-funded astroturfed movements that normalised fascist language and violence.
Pithouse reveals the complicity of the police, media and major political parties—including the ANC, DA, MKP, ActionSA and Patriotic Alliance—in legitimating xenophobic violence. He shows how the mob and state have collaborated to drive more than 150,000 people across South Africa’s borders in a matter of weeks, with government infrastructure facilitating mass deportation.
Drawing on the work of Aijaz Ahmad, Alain Badiou and Richard Seymour, Pithouse argues that the erosion of democratic norms, the reactivation of ethnic mobilisation, and the normalisation of sadism constitute a fascist challenge to the constitutional order. The book insists that the answer to the far right is never to move rightward, but always to build a politics of universal solidarity rooted in the principle that a person is a person wherever they may find themselves.
With a foreword by Michael Neocosmos and an afterword by Abahlali baseMjondolo founder S’bu Zikode, this is an urgent account of a country’s descent into organised cruelty—and a powerful call for a politics of human dignity.
This essay is an elegy for solidarity; a blistering call for social communion based not on grievance, but on a human ethic of care. Pithouse’s assessment of contemporary fascism offers a masterclass in political theory, and yet there is a granularity to his words, a grasp of the pain and suffering at the heart of this crisis that cannot be mimicked. In this way, Pithouse moves beyond the realm of the academic, into the territory of the body, into the flesh and bone and blood of the violence that stalks this moment.
Pithouse’s reportage does not simply bear witness, it offers an activist intervention. By writing not from the margins, but from the centre of an organised response to the cruelty of this moment, Pithouse insists that solidarity is not built on words alone. Instead, he reminds us that solidarity is crafted in the intimacy of bodies meeting in shared spaces – not to carry out violence, but to repel it.
Pithouse is at his finest in this form; his words are succinct, urgent and yet – somehow – achingly tender. —Sisonke Msimang, author of Always Another Country
(This essay was originally published on Richard Pithouse’s Substack: https://substack.com/profile/143275356-richard-pithouse)
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From Citizen to Refugee: Uganda Asians Come to Britain
USD $ 15.50In his introduction to this new edition of From Citizen to Refugee: Uganda Asians Come to Britain, Mahmood Mamdani reminds us that long before 1972, most Ugandan ‘Asians’ had already been disenfranchised by law, both Ugandan and British. Despite a global industry that insists otherwise, Uganda Asians are a poor fit as victims: there was no large-scale loss of life during the expulsion, nor were there massacres of Asians, only of ‘indigenous’ peoples. Asians in Uganda, as in East or Southern Africa, he argues, were immigrants, not settlers: immigrants are prepared to be a part of the political community, whereas settlers ‘create their own political community, a colony, more precisely, settler colonialism.’ Mamdani insists that there is no single Asian legacy. there are several and they are contradictory. The Asian question in Uganda remains, but it is no longer the original Asian question. But it does allow us to think more broadly. Just as US law recognizes African Americans as Americans of African descent, so too must those of Asian origin in Africa consider themselves, and be considered, Asian Africans. It is in his bittersweet and touching book on the Asian expulsion from Uganda that one can trace the beginnings of author and intellectual Mahmood Mamdani’s world-view.. … In From Citizen to Refugee: Uganda Asians Come to Britain Mamdani offers portraits of people reduced to a vegetative existence in refugee camps, feeling the burden of not being fluent in English and struggling with the uncomfortably cold weather. Not surprisingly, these few months played a pivotal role in shaping Mamdani’s theoretical and political leanings, and it is here that one can locate his preoccupation with the formation of racial, ethnic and class identities during the colonial era and his overarching concern with issues of citizenship.
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Love after Babel and other poems
USD $ 5.00 USD $ 15.30Price range: USD $ 5.00 through USD $ 15.30Select options This product has multiple variants. The options may be chosen on the product pageLove after Babel and other poems
USD $ 5.00 USD $ 15.30Price range: USD $ 5.00 through USD $ 15.30Love after Babel is a collection of poems that deal with themes such as caste, the resistance of Dalit people, Dalit literature, islamophobia and other political themes, with almost one hundred poems divided into three sections (Call Me Ishmail Tonight; Name Me a Word; Love after Babel). The introduction is by Suraj Yengde (award-winning scholar and activist from India, author of the bestseller Caste Matters, inaugural postdoctoral fellow at the Initiative for Institutional Anti-racism and Accountability, Shorenstein Center on Media, Politics and Public Policy at the Harvard Kennedy School).
Chandramohan’s poems are dialogues of the ‘ self’ with the ‘other’. He brings to life a world that subverts myths, literary canons, gender and caste stereotypes by pooling in sparklingly new metaphors with sensitivity and care. He draws his images from contemporary incidents as well as myths and legends of yore, and delves deep into the politicized realm, thus ‘rupturing the hymen of demarcations’ of identity, resistance, repression and love.
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