A woman ahead of her time, Lucy Parsons was an early American radical who defied all the conventions of her turbulent era. Born in 1853 in Texas, she was an outspoken black woman, radical writer and labour organiser. Parsons led the defence campaign for the 'Haymarket martyrs,' which included her husband Albert Parsons and remained active in the struggles of the oppressed throughout her life. This is the unique and inspiring story of a woman described in the 1920s by the Chicago police as 'more dangerous than a thousand rioters'.
From a prize-winning historian, a new portrait of an extraordinary activist and the turbulent age in which she lived Goddess of Anarchy recounts the formidable life of the militant writer, orator, and agitator Lucy Parsons. Born to an enslaved woman in Virginia in 1851 and raised in Texas-where she met her husband, the Haymarket "martyr" Albert Parsons-Lucy was a fearless advocate of First Amendment rights, a champion of the working classes, and one of the most prominent figures of African descent of her era. And yet, her life was riddled with contradictions-she advocated violence without apology, concocted a Hispanic-Indian identity for herself, and ignored the plight of African Americans. Drawing on a wealth of new sources, Jacqueline Jones presents not only the exceptional life of the famous American-born anarchist but also an authoritative account of her times-from slavery through the Great Depression.
Edited and introduced by Gale Ahrens, here, for the first time, is a hefty selection of the writings and speeches of the woman the Chicago police called 'More dangerous than a thousand rioters!' "Lucy Parsons' writings are among the best and strongest in the history of US anarchism. ...Her long and often traumatic experience of the capitalist injustice system - from the KKK terror in her youth, through Haymarket and the judicial murder of her husband, to the US government's war on the Wobblies - made her not 'just another victim' but an extraordinarily articulate witness to, and vehement crusader against, all injustice." [from the introduction by Gale Ahrens] "Lucy Parsons personae and historical role provide material for the makings of a truly exemplary figure.....anarchist, labor organizer, writer, editor, publisher, and dynamic speaker, a woman of color of mixed black, Mexican and Native American heritage, a founder of the 1880s Chicago Working women's Union that organized garment workers, called for equal pay for equal work, and even invited housewives to join with the demand of wages for housework; and later (1905) co-founder of the Industrial Workers of the World (IWW), which made the organizing of women and people of color a priority....For a better understanding of the concept of direct action and its implications, no other historical figure can match the lessons provided by Lucy Parsons." [from the Afterword by Roxanne Dunbar-Ortiz]
On the night of May 4, 1886, during a peaceful demonstration of labor activists in Haymarket Square in Chicago, a dynamite bomb was thrown into the ranks of police -trying to disperse the crowd. The officers immediately opened fire, killing a number of protestors and wounding some two hundred others. Albert Parsons was the best-known of those hanged; Haymarket is his story. Parsons, humanist and autodidact, was an ex-Confederate soldier who grew up in Texas in the 1870s, and fell in love with Lucy Gonzalez, a vibrant, outspoken black woman who preferred to describe herself as of Spanish and Creole descent. The novel tells the story of their lives together, of their growing political involvement, of the formation of a colorful circle of "co-conspirators"-immigrants, radical intellectuals, journalists, advocates of the working class-and of the events culminating in bloodshed. More than just a moving story of love and human struggle, more than a faithful account of a watershed event in United States history, Haymarket presents a layered and dynamic revelation of late nineteenth-century Chicago, and of the lives of a handful of remarkable individuals who were willing to risk their lives for the promise of social change.
“May Day is about affirmation, the love of life, and the start of spring, so it has to be about the beginning of the end of the capitalist system of exploitation, oppression, war, and overall misery, toil, and moil.” So writes celebrated historian Peter Linebaugh in an essential compendium of reflections on the reviled, glorious, and voltaic occasion of May 1st. It is a day that has made the rich and powerful cower in fear and caused Parliament to ban the Maypole—a magnificent and riotous day of rebirth, renewal, and refusal. These reflections on the Red and the Green—out of which arguably the only hope for the future lies—are populated by the likes of Native American anarcho-communist Lucy Parsons, the Dodge Revolutionary Union Movement, Karl Marx, José Martí, W.E.B. Du Bois, Rosa Luxemburg, SNCC, and countless others, both sentient and verdant. The book is a forceful reminder of the potentialities of the future, for the coming of a time when the powerful will fall, the commons restored, and a better world born anew.
The significant anarchist, black, and socialist world-movements that emerged in the late nineteenth century and early twentieth adapted discourses of sentiment and sensation and used the era's new forms of visual culture to move people to participate in projects of social, political, and economic transformation. Drawing attention to the vast archive of images and texts created by radicals prior to the 1930s, Shelley Streeby analyzes representations of violence and of abuses of state power in response to the Haymarket police riot, of the trial and execution of the Chicago anarchists, and of the mistreatment and imprisonment of Ricardo and Enrique Flores Magón and other members of the Partido Liberal Mexicano. She considers radicals' reactions to and depictions of U.S. imperialism, state violence against the Yaqui Indians in the U.S.-Mexico borderlands, the failure of the United States to enact laws against lynching, and the harsh repression of radicals that accelerated after the United States entered the First World War. By focusing on the adaptation and critique of sentiment, sensation, and visual culture by radical world-movements in the period between the Haymarket riots of 1886 and the deportation of Marcus Garvey in 1927, Streeby sheds new light on the ways that these movements reached across national boundaries, criticized state power, and envisioned alternative worlds.
