This book comprises a collection of groundbreaking writings by Marta Russell on the nature of disability and oppression under capitalism. Spread out over many years and many different publications, the late author and activist Marta Russell wrote a number of groundbreaking and insightful essays on the nature of disability and oppression under capitalism. In this volume, Russell’s various essays are brought together in one place in order to provide a useful and expansive resource to those interested in better understanding the ways in which the modern phenomenon of disability is shaped by capitalist economic and social relations. The essays range in analysis from the theoretical to the topical, including but not limited to: the emergence of disability as a “human category” rooted in the rise of industrial capitalism and the transformation of the conditions of work, family, and society corresponding thereto; a critique of the shortcomings of a purely “civil rights approach” to addressing the persistence of disability oppression in the economic sphere, with a particular focus on the legacy of the Americans with Disabilities Act of 1990; an examination of the changing position of disabled people within the overall system of capitalist production utilizing the Marxist economic concepts of the reserve army of the unemployed, the labor theory of value, and the exploitation of wage-labor; the effects of neoliberal capitalist policies on the living conditions and social position of disabled people as it pertains to welfare, income assistance, health care, and other social security programs; imperialism and war as a factor in the further oppression and immiseration of disabled people within the United States and globally; and the need to build unity against the divisive tendencies which hide the common economic interest shared between disabled people and the often highly-exploited direct care workers who provide services to the former.

Over vast expanses of time, fire and humanity have interacted to expand the domain of each, transforming the earth and what it means to be human. In this concise yet wide-ranging book, Stephen J. Pyne—named by Science magazine as “the world’s leading authority on the history of fire”—explores the surprising dynamics of fire before humans, fire and human origins, aboriginal economies of hunting and foraging, agricultural and pastoral uses of fire, fire ceremonies, fire as an idea and a technology, and industrial fire.In this revised and expanded edition, Pyne looks to the future of fire as a constant, defining presence on Earth. A new chapter explores the importance of fire in the twenty-first century, with special attention to its role in the Anthropocene, or what he posits might equally be called the Pyrocene.

"HERE JOHN TURNER WAS CAST AWAY IN A HEAVY SNOW STORM IN THE NIGHT IN THE YEAR 1755" "THE PRINT OF A WOMAN'S SHOE WAS FOUND BY HIS SIDE IN THE SNOW WHERE HE LAY DEAD" John Turner was a packman. With his train of horses he carried salt and silk across distances incomprehensible to his ancient and static community. He brings ideas as well as gifts that have come, by many short journeys, from market town to market town, and from places as distant as the campfires of the Silk Road. John Turner's death in the 18th century leaves an emotional charge Ian and Sal find affects their relationship in the 21st, challenging the perceptions they have of themselves and of each other. A visionary fable firmly rooted in a verifiable place, this novel is an evocation of the lives and the language of all people who are called to the valley of Thursbitch.

Publicada en 1949, Hombres de maíz constituye una incisiva denuncia de los devastadores efectos que el capitalismo y las grandes empresas internacionales tuvieron en las costumbres, las creencias ancestrales, la despersonalización y la inseguridad de los campesinos guatemaltecos. El realismo mágico, antecedente inmediato del que prodigarán en sus relatos Juan Rulfo, Gabriel García Márquez y otros autores hispanoamericanos, la audacia de la construcción narrativa, la técnica expresionista e incluso onírica y el estilo barroco y poemático, plagado de imágenes, símbolos y efectos musicales, confieren a esta obra de Miguel Ángel Asturias -quien, en 1967, obtuvo el Premio Nobel de Literatura- una singularidad inconfundible.