Franklin Rosemont – författare

Surrealism as a movement has always resisted the efforts of critics to confine it to any static definition-surrealists themselves have always preferred to speak of it in terms of dynamics, dialectics, goals, and struggles. Accordingly, surrealist groups have always encouraged and exemplified the widest diversity-from its start the movement was emphatically opposed to racism and colonialism, and it embraced thinkers from every race and nation.Yet in the vast critical literature on surrealism, all but a few black poets have been invisible. Academic histories and anthologies typically, but very wrongly, persist in conveying surrealism as an all-white movement, like other "artistic schools" of European origin. In glaring contrast, the many publications of the international surrealist movement have regularly featured texts and reproductions of works by comrades from Martinique, Haiti, Cuba, Puerto Rico, South America, the United States, and other lands. Some of these publications are readily available to researchers; others are not, and a few fall outside academia's narrow definition of surrealism.This collection is the first to document the extensive participation of people of African descent in the international surrealist movement over the past seventy-five years. Editors Franklin Rosemont and Robin D. G. Kelley aim to introduce readers to the black, brown, and beige surrealists of the world-to provide sketches of their overlooked lives and deeds as well as their important place in history, especially the history of surrealism.

A monumental work, expansive in scope, covering the life, times and culture of that most famous of the Wobblies - songwriter, poet, hobo, thinker, humourist, martyr - Joe Hill. It is a journey into the Wobbly culture that made Hill and the capitalist culture that killed him. Many aspects of the life and lore of Joe Hill receive their first and only discussion in IWW historian Franklin Rosemont's opus. Collected too is Joe Hill's art, plus scores of other images featuring Hill-inspired art by IWW illustrators from Ralph Chaplin to Carlos Cortez.

Surrealism, Bugs Bunny, and the Blues is a collection of Franklin Rosemont's writings on popular culture over a period of more than forty years. Rosemont, a self-taught scholar, poet, and artist, playfully uncovers the sometimes hidden-in-plain-sight writers and artists who managed to be both popular, vernacular, and in their own ways profoundly revolutionary. Rosemont skillfully weaves together what most would regard as unlikely threads. The labour culture of the nineteenth-century anarchist movement gains new meaning when connected to the famed Chicago musicians of blues and jazz. His interests from childhood extended from his favourite animators and comic art - Mel Blanc and Tex Avery, Scrooge McDuck, Mighty Mouse, Krazy Kat, Smokey Stover, and Powerhouse Pepper - to nineteenth-century drug-taker Benjamin Paul Blood, or the barely remembered best-selling utopian writer Edward Bellamy. Palindromes and other wordplay counted along with radical environmentalism, modern dance alongside the 'mad' self-taught writer-artist Henry Darger. Find all these and much more, exploring the inventory of Franklin Rosemont's discoveries and his luminous, unpredictable exploration of himself. An introductory essay by Abigail Susik and an afterword by Paul Buhle frame his work and life.