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  • Settler Colonialism

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    Settler Colonialism

    Settler Colonialism examines the genesis in the USA of the first full-fledged settler state in the world, which went beyond its predecessors in 1492 Iberia and British-colonized Ireland with an economy based on land sales and enslaved African labor, an implementation of the fiscal-military state. Both the liberal and the rightwing versions of the national narrative misrepresent the process of European colonization of North America. Both narratives serve the critical function of preserving the “official story” of a mostly benign and benevolent USA as an anticolonial movement that overthrew British colonialism. The pre-US independence settlers were colonial settlers just as they were in Africa and India or like the Spanish in Central and South America. The nation of immigrants myth erases the fact that the United States was founded as a settler state from its inception and spent the next hundred years at war against the Native Nations in conquering the continent. Buried beneath the tons of propaganda—from the landing of the English “pilgrims” (Protestant Christian evangelicals) to James Fenimore Cooper’s phenomenally popular The Last of the Mohicans claiming settlers’ “natural rights” not only to the Indigenous peoples’ territories but also to the territories claimed by other European powers—is the fact that the founding of the United States created a division of the Anglo empire, with the US becoming a parallel empire to Great Britain, ultimately overcoming it. From day one, as was specified in the Northwest Ordinance, which preceded the US Constitution, the new “republic for empire,” as Thomas Jefferson called the new United States, envisioned the future shape of what is now the forty-eight states of the continental US. The founders drew up rough maps, specifying the first territory to conquer as the “Northwest Territory.” That territory was the Ohio Valley and the Great Lakes region, which was already populated with Indigenous villages and farming communities thousands of years old. Even before independence, mostly Scots Irish settlers had seized Indigenous farmlands and hunting grounds in the Appalachians and are revered historically as first settlers and rebels, who in the mid-twentieth century began claiming indigeneity. Self-indigenizing by various groups of settlers is a recurrent theme in story of settler colonialism, white supremacy, and the history of erasure and exclusion about which I have written elsewhere.

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  • Hand on the Sun cover
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    Hand On The Sun: A passionate and powerful novel of race and class

    This was Tariq Mehmood’s first novel, published by Penguin Books in 1983, charting the experience of the second generation migrants to the UK. Set in the declining textile industry of the North of England, it is a raw story of pain and anger at the relentlessness of British racism, from the street to the state – a story of an unquenchable desire for justice, and reclaiming human dignity. A dignity that is wrapped around new questions of Identity, a crossroad between religion, language, history and resistance. It is a little big story, that talks to the extremities of social, political and literary issues today? Can stories of a generation be appropriated? How important is religion in identity? If all you have is a story to tell, who should you tell it? Are the issues of today, just the issues of today or can we learn something from the past? In these stories, friendship is not defined by religion or colour, but by humanity. And racism is much more than skin deep. It is an exhilarating read that bears witness to the urgent 80’s battles against state and popular racism. As important now as then. In this new edition, Mehmood provides a Foreword that describes how the novel came to be written and the lives of real people on whom the characters were created. In the Afterword, Mehmood revisits some of the characters who are now 40-years older, and reflects on how the book would have been written today where the conditions of mass mobilizations no longer exist in neoliberal Britain.

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  • Mutiny of Morning
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    A Mutiny of Morning: Reclaiming the Black Body from Heart of Darkness

    Nikesha Breeze has taken pages from Joseph Conrad’s Heart of Darkness, taken his words, and forced them to leave his colonized mind. She has made the words her own in poetic form. She illuminates the invisible Black voices inside, a radical, surgical, and unapologetic Black appropriation, at the same time as a careful birthing and spiritual road map. The resulting poems are sizzling purifications, violent restorations of integrity, pain, wound, bewilderment, rage, and, sometimes, luminous generosity. This is a work of Reclamation. The author, Nikesha Breeze, has slowly, page by page, reclaimed the text of the book Heart of Darkness by Joseph Conrad. This racist turn-of-the-19th-century book was pivotal in the continued dehumanization of Black people and in particular of African people, as it painted an image of bestiality on the Congo people and the continent. It is laced with racist imagery and language. The author has reappropriated the book, page by page, making “BlackOut” poetry for each page, isolating methodically the words to create new poems of power and black voice within the text —stealing the language and reappropriating the power.

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    Finding a Voice: Asian Women in Britain (New and Expanded Edition)

    irst published in 1978, and winning the Martin Luther King Memorial Prize for that year, Finding a Voice established a new discourse on South Asian women’s lives and struggles in Britain. Through discussions, interviews and intimate one-to-one conversations with South Asian women, in Urdu, Hindi, Bengali and English, it explored family relationships, the violence of immigration policies, deeply colonial mental health services, militancy at work and also friendship and love. The seventies was a time of some iconic anti-racist and working-class struggles. They are presented here from the point of view of the women who participated in and led them.

    This new edition includes a preface by Meena Kandasamy, some historic photographs, and a remarkable new chapter titled ‘In conversation with Finding a Voice: 40 years on’ in which younger South Asian women write about their own lives and struggles weaving them around those portrayed in the book.

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