Michael Wayne – författare

In May of 1857, the body of Duncan Skinner was found in a strip of woods along the edge of the plantation near Natchez, Mississippi, where he worked as an overseer. Although a coroner's jury initially ruled his death to be accidental, an investigation organized by planters from the community concluded that he had been murdered by three slaves acting under instructions from John McCallin, an Irish carpenter.Now, almost a century and a half later, Michael Wayne has reopened the case to ask whether the men involved in the investigation arrived at the right verdict. Part essay on the art of historical detection, part seminar on the history of slavery and the Old South, Death of an Overseer is, above all, a murder mystery-a murder mystery that allows readers to sift through the surviving evidence themselves and come to their own conclusions about who killed Duncan Skinner and why.

In May of 1857, the body of Duncan Skinner was found in a strip of woods along the edge of the plantation near Natchez, Mississippi, where he worked as an overseer. Although a coroner's jury initially ruled his death to be accidental, an investigation organized by planters from the community concluded that he had been murdered by three slaves acting under instructions from John McCallin, an Irish carpenter.Now, almost a century and a half later, Michael Wayne has reopened the case to ask whether the men involved in the investigation arrived at the right verdict. Part essay on the art of historical detection, part seminar on the history of slavery and the Old South, Death of an Overseer is, above all, a murder mystery-a murder mystery that allows readers to sift through the surviving evidence themselves and come to their own conclusions about who killed Duncan Skinner and why.

A fascinating and challenging inquiry into black identity and its shifting meaning throughout U.S. historyScientific research has now established that race should be understood as a social construct, not a true biological division of humanity. In Imagining Black America, Michael Wayne explores the construction and reconstruction of black America from the arrival of the first Africans in Jamestown in 1619 to Barack Obama’s reelection. Races have to be imagined into existence and constantly reimagined as circumstances change, Wayne argues, and as a consequence the boundaries of black America have historically been contested terrain. He discusses the emergence in the nineteenth century—and the erosion, during the past two decades—of the notorious “one-drop rule.” He shows how significant periods of social transformation—emancipation, the Great Migration, the rise of the urban ghetto, and the Civil Rights Movement—raised major questions for black Americans about the defining characteristics of their racial community. And he explores how factors such as class, age, and gender have influenced perceptions of what it means to be black.Wayne also considers how slavery and its legacy have defined freedom in the United States. Black Americans, he argues, because of their deep commitment to the promise of freedom and the ideals articulated by the Founding Fathers, became and remain quintessential Americans—the “incarnation of America,” in the words of the civil rights leader A. Philip Randolph.

With its authoritarian distortions, the Marxism of the 20th century sundered the connections between the practice of Communism, and its essentially democratic ethos.This book reconstructs those vital threads by turning to the work of Italian Marxist Antonio Gramsci. In the wake of the rise of neoliberalism and the new global order that it ushered in, Gramsci and the Struggle for Democratic Communism asks: what form of political rule can facilitate the transition away from capitalism’s increasingly apocalyptic end game?To answer this question, Wayne puts Gramsci into dialogue with key thinkers from his own historical period, from Marx, Lenin and Trotsky through to John Dewey and Walter Lippmann. Wayne argues that Gramsci’s contribution to Marxism helps clarify the political inheritance that class democracies bequeath a revolutionary transition. Wayne then puts Gramsci into a critical dialogue with contemporary thinkers such as Stuart Hall, Ernesto Laclau and Antonio Negri, analysing such crisis situations as Britain and Venezuela under neoliberalism. In the final chapter he develops the concept of ‘elongated dual power’ to explore how revolutionary change can be reconciled with democratic principles as the old choice between barbarism or revolutionary change looms once more on the horizon.

Is Kant really the ‘bourgeois’ philosopher that his advocates and opponents take him to be? In this bold and original re-thinking of Kant, Michael Wayne argues that with his aesthetic turn in the Third Critique, Kant broke significantly from the problematic philosophical structure of the Critique of Pure Reason. Through his philosophy of the aesthetic Kant begins to circumnavigate the dualities in his thought. In so doing he shows us today how the aesthetic is a powerful means for imagining our way past the apparent universality of contemporary capitalism. Here is an unfamiliar Kant: his concepts of beauty and the sublime are reinterpreted as attempts to socialise the aesthetic while Wayne reconstructs the usually hidden genealogy between Kant and important Marxist concepts such as totality, dialectics, mediation and even production. In materialising Kant’s philosophy, this book simultaneously offers a Marxist defence of creativity and imagination grounded in our power to think metaphorically and in Kant’s concept of reflective judgment. Wayne also critiques aspects of Marxist cultural theory that have not accorded the aesthetic the relative autonomy and specificity which it is due. Discussing such thinkers as Adorno, Bourdieu, Colletti, Eagleton, Lukács, Ranciére and others, Red Kant: Aesthetics, Marxism and the Third Critique presents a new reading of Kant's Third Critique that challenges Marxist and mainstream assessments of Kant alike.

Is Kant really the ‘bourgeois’ philosopher that his advocates and opponents take him to be? In this bold and original re-thinking of Kant, Michael Wayne argues that with his aesthetic turn in the Third Critique, Kant broke significantly from the problematic philosophical structure of the Critique of Pure Reason. Through his philosophy of the aesthetic Kant begins to circumnavigate the dualities in his thought. In so doing he shows us today how the aesthetic is a powerful means for imagining our way past the apparent universality of contemporary capitalism. Here is an unfamiliar Kant: his concepts of beauty and the sublime are reinterpreted as attempts to socialise the aesthetic while Wayne reconstructs the usually hidden genealogy between Kant and important Marxist concepts such as totality, dialectics, mediation and even production. In materialising Kant’s philosophy, this book simultaneously offers a Marxist defence of creativity and imagination grounded in our power to think metaphorically and in Kant’s concept of reflective judgment. Wayne also critiques aspects of Marxist cultural theory that have not accorded the aesthetic the relative autonomy and specificity which it is due. Discussing such thinkers as Adorno, Bourdieu, Colletti, Eagleton, Lukács, Ranciére and others, Red Kant: Aesthetics, Marxism and the Third Critique presents a new reading of Kant's Third Critique that challenges Marxist and mainstream assessments of Kant alike.