Portside

Greece's former finance minister under the radical Syriza government offers a revealing tell-all about modern capitalism through his battles over Greece’s debt with the “Troika”: the International Monetary Fund, the European Commission and the European Central Bank (ECB), and eventually with his own prime minister.

David Harvey seeks to renew our reading of Marx's Capital in the wake of capitalism's current multifaceted crisis.

The nonprofit National 4-H Council accepts donations from a veritable who’s who of Big Ag: Monsanto, ConAgra, DuPont, and Altria each gave at least a million dollars in 2015. A lot of cultural norms around gender and sexuality are directly illustrated by the history of 4-H.

Godless, Netflix's new Steven Soderbergh-produced six-part series set in a New Mexico mining town governed mainly by women, has been touted as a feminist Western, two words that typically mean opposite things.

From the beginning of a day, any day, writes Colorado poet Jared Smith, taking a continental view of people at work, we all go through “the motions” and “the same work has to start and be filled each day…”

A novel set in the context of the historic Gastonia strike of textile workers in 1929 and featuring labor songwriter and indigenous strike leader Ella May Wiggins, the book, based as it is on an actual struggle uniting black and white workers, speaks to contemporary concerns through a vivid portrayal of struggle against historical injustice.

Kevin Young is a prolific and highly regarded poet, recently appointed the poetry editor of The New Yorker. He is the first African American to hold that post. His new book looks at such fakery as fake news.

There were three exceptionable and rewarding Palestinian themed films at the Toronto Interrnational Film Festival this year, and Ziad Doueiri’s The Insult has been selected to represent his home country of Lebanon at the Oscars. A more timely film could not have been made and selected, seeing that this film addresses most every area of conflict possible.

"Mudbound" is about how things change—slowly, unevenly, painfully. It is also, as the title suggests, about how things don’t change, about the stubborn forces of custom, prejudice and power that lock people in place and impede social progress. Set mainly in the Mississippi Delta in the years just after World War II, when Jim Crow was still enshrined in law and practice, the film tests and complicates Faulkner’s much-quoted claim about the not-even-pastness of the past.

Party line suggested that widowhood made a woman’s sex drive fickle and vulnerable. A woman’s libido was a site of such agita that she couldn’t be trusted to keep it quiet, and so her body needed to be governed. The alienation imposed upon high-caste, Hindu Bengali women was meant to act as a hormonal suppressant, silencing the desire more dangerous than hunger for fish or meat: sex.