Marc James Léger

Contemporary bipartisan politics undermines socialist solidarity by ignoring class issues and pitting advocates of social justice against ethno-national chauvinists. This guide to the recent wave of "woke" culture wars provides a radical class analysis and critique of the most popular academic trends around diversity and inclusion: radical democracy, intersectionality, privilege theory, critical race theory and decoloniality. The book further explains the complexity of today’s cultural conflicts by examining how these issues are viewed across the political spectrum, including populist and postmodern perspectives. Exploring historical, cultural, political and economic developments since the postwar era, this follow- up to Identity Trumps Socialism provides the reader with everything you wanted to know but were afraid to ask about the campus wars that have gone mainstream.

Contemporary bipartisan politics undermines socialist solidarity by ignoring class issues and pitting advocates of social justice against ethno-national chauvinists. This guide to the recent wave of "woke" culture wars provides a radical class analysis and critique of the most popular academic trends around diversity and inclusion: radical democracy, intersectionality, privilege theory, critical race theory and decoloniality. The book further explains the complexity of today’s cultural conflicts by examining how these issues are viewed across the political spectrum, including populist and postmodern perspectives. Exploring historical, cultural, political and economic developments since the postwar era, this follow- up to Identity Trumps Socialism provides the reader with everything you wanted to know but were afraid to ask about the campus wars that have gone mainstream.

Bernie Bros Gone Woke offers a provocative analysis of the Sanders campaigns and argues for the continuing importance of emancipatoryuniversality. In 2016 and 2020, the Bernie Sanders campaign gave American leftists a path towards social change through electoral politics. In order to combat neoliberal and reactionary uses of identity, the 2020 Sanders campaign combined a working-class agenda of universalist policies with various forms of social movement activism. In doing so it compromised on universalist principles and socialist radicalism in order to appeal to distinct demographic groups and win the election. Bernie Bros Gone Woke reveals how intersectional politics contributed to the failure of the Sanders campaign - a lesson that the organized left must learn if it is to challenge progressive neoliberalism and move beyond postmodern post-politics.

In the past several decades, progressive leftists have gradually replaced socialism with populist criticism of elites and single-issue coalitions. As global economic crisis deepens, the spectre of both the radical left and the extreme right have re-emerged. Max Horkheimer famously stated that whoever does not criticize capitalism has nothing to say about fascism. With a focus on the American scene, Too Black to Fail adds to this the argument that whoever does not criticize identity politics has nothing to say about capitalism. Taking the official portraits of Barack and Michelle Obama as a touchstone for the contradictions of our era, L ger questions the Obama legacy in relation to the neoliberalization of society and culture. Arguing for the renewal of emancipatory universalism, Too Black to Fail makes an unsparing critique of woke aesthetics and black capitalism, drawing the connections between today's racialist agenda and the ideology of post-representation.

In 2016 and 2020, the Bernie Sanders campaign gave American leftists a path towards social change through electoral politics. In order to combat neoliberal and reactionary uses of identity, the 2020 Sanders campaign combined a working-class agenda of universalist policies with various forms of social movement activism. In doing so it compromised on universalist principles and socialist radicalism in order to appeal to distinct demographic groups and win the election. Bernie Bros Gone Woke reveals how intersectional politics contributed to the failure of the Sanders campaign – a lesson that the organized left must learn if it is to challenge progressive neoliberalism and move beyond postmodern post-politics.

The avant garde is dead, or so the story goes for many leftists and capitalists alike. But in an era of neoliberal austerity, neocolonial militarism and ecological crisis, this postmodern view seems increasingly outmoded. Rejecting ‘end of ideology’ post-politics, Vanguardia delves into the changing praxis of socially engaged art and theory in the age of the Capitalocene. Covering the major events of the last decade, from anti-globalisation protests, Occupy Wall Street, the Maple Spring, Strike Debt and the Anthropocene, to the Black Lives Matter and MeToo campaigns, Vanguardia puts forward a radical leftist commitment to the revolutionary consciousness of avant-garde art and politics.

CMOK to YOu To presents the 2015 email correspondence of the Serbian-born poet, art critic and playwright Nina Zivančevic and Canadian cultural theorist Marc James L ger. In December of 2014 L ger invited Zivančevic to contribute a text to the second volume of the book he was editing, The Idea of the Avant Garde - And What It Means Today. Taken with each other's idiosyncrasies, their correspondence gradually shifted from amiable professional exchanges and the eventual failure to organize a scholarly event to that of collaborating on some kind of writing project. Several titles were attempted for the eventual book - Marshmallow Muse: The Exact and Irreverent Letters of MJL and NZ, The Orange Jelly Bean, or, I Already Am Eating from the Trash Can All the Time: The Name of This Trash Can Is Ideology, The Secreted Correspondence of Mme Chatelet and Voltaire, and I'm Taken: The E-Pistolary Poetry of Kit le Minx and Cad - but none of these proved to be more telling than CMOK, the Serbian word for kiss, which sums up the authors' quest for "harmony" in an altogether imperfect world and literary medium.In this book, names of real people were changed in order to protect those who might otherwise be offended by the unguarded and absurdist commentary of its authors. Despite this fact, it is the fragility and elasticity of the writers' superegos that is tested as they vacillate from personal registers to intellectual strata. At once a cis-avant-gardist's exploration of anti-art and a poet's claim to some weak form of autonomy, CMOK delights in both the pleasures of casual email and the sublime realizations of Jacques Lacan's theory of sexuation. CMOK is a hybrid genre and a quest into the real of virtuality that defies the literary standards. Its authors, who never met, answer one another's basic needs and questions, separated as they are by time zones and the ocean, but not culturally or spiritually.

Drive in Cinema offers Žižek-influenced studies of films made by some of the most engaging and influential filmmakers of our time, from avant-garde directors Jean-Luc Godard, Werner Herzog, Alexander Kluge, Pier Paolo Pasolini and Vera Chytilová, to independent filmmakers William Klein, Oliver Ressler, Hal Hartley, Olivier Assayas, Vincent Gallo, Jim Jarmusch and Harmony Korine. These essays in critical cultural theory present interdisciplinary perspectives on the relations between art, film and politics. How does filmic symbolization mediate intersubjective social exchange? What are the possibilities for avant-gardism today and how does this correspond to what we know about cultural production after capitalism’s real subsumption of labour? How have various filmmakers communicated radical ideas through film as a popular medium? Drive in Cinema pursues Lacanian ethics to avenues beyond the academic obsession with cultural representation and cinematic technique. It will be of interest to anyone who is concerned with film’s potential as an emancipatory force.

The Neoliberal Undead describes the frightening world of class restoration, neoliberal austerity, ecological meltdown, and neo-imperialism a disaster capitalism that breeds mutant ideological justifications for itself and the inevitability of disorder, poverty and suffering. What role does culture play in this world of markets and how do new contestatory forms enable a leftist solidarity that can move cultural radicalism beyond the postmodern obsession with new subjectivities? Rather than become the symptoms of democratic materialism, signing up for endless culture wars, The Neoliberal Undead argues for a rethinking of radical cultural leftism against the terms of the dominant global situation. The relentless reduction of art criticism and art production under capitalist relations requires that the living separate themselves from the abstractions of globalization and reconnect with revolutionary theory.

Brave New Avant Garde is a collection of essays that ask the questions: what is an adequate model of contemporary avant garde practice and what are its theoretical premises? With this it asks the related question, echoing Alain Badiou: must the avant garde hypothesis be abandoned? Brave New Avant Garde stands in opposition to postmodern post-politics and the view that radical practice has no other future than its reduction to the workings of the free market in the form of the "simple process of cultural production" or to variations on the cultural politics of representation. Today's avant garde, formed in the wake of the end of the Soviet Union and the rise of the anti-globalization movement, represents a counter-power that rejects the inevitability of capitalist integration. The way out for artists in today's world of creative industries is defined in these pages as a psychoanalytically informed sinthomeopathic practice, a critical identification with prevailing conditions of production that avoids the surplus enjoyment of the ideology of postmodern pluralism.