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To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
Lessons to be learned from Washington's lethal war against the world
Vijay Prashad's investigation of US's murderous global interventions against socialism and national liberation is a must-read, says CARLOS MARTINEZ
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
Washington Bullets
by Vijay Prashad
(LeftWord/Monthly Review Press, £14.99)
THE LATEST book from Indian Marxist Vijay Prashad is a passionate critique of the “US-led liberal international order,” in which Washington has fired — and still fires — its bullets at the peoples of the Global South and the socialist world.
In Guatemala, Congo, Vietnam, Korea, Indonesia, Haiti, Chile, Brazil, Argentina, Yemen, Sudan, Grenada, Nicaragua, Afghanistan, Iran, Iraq, Angola and so many other countries, Washington’s bullets have been deployed in the pursuance of regime change, the protection of US hegemony and opposition to the emergence of truly sovereign post-colonial nations, all in flagrant violation of international law.
Most of these bullets hit their targets, which is why we continue to live in a world dominated by imperialism. As Evo Morales observes in the preface: “If the salvation of humanity is far away, it is because Washington insists on using its bullets against the world's people.”
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