Padraic Kenney - Böcker

What is it that political prisoners do? What part does the imprisoned activist play in the conflict between regimes and their opponents around the world? Why, in short, are there political prisoners? The answers to these questions may seem obvious, as political incarceration today seems to offer the clearest evidence of a repressive regime, and of a determined political opposition. Yet surely there are more effective alternatives, for both states and their opponents, than incarceration. Imprisoned opponents, like those of the African National Congress in South Africa, or of Solidarity in Poland, or of the Irish Republican Army in Northern Ireland --just to mention a few examples from the last quarter-century--may eventually claim or share power, while those who are executed or exiled will not pose the same threat. From the opposition's point of view, in turn, imprisonment, even though it deprives the movement of a valued contributor, is often a badge of honor, and central to the story of contestation with the regime. So does prison contribute to the struggle, or is it a hindrance? Remarkably, the political prisoner has never received attention as a historical actor, our perceptions of them awash in clichés and archetypes. We think immediately of Nelson Mandela, or perhaps Václav Havel: good men, engaged in a moral struggle against bad regimes. But can that really be an acceptable definition, when Adolph Hitler too was a political prisoner? Can we understand what political prisoners are and what they do if we do not include those whose goals or ethics are different from our own?Dance in Chains--the title inspired by a song composed by a socialist on death row in a Warsaw prison 120 years ago--draws upon research in Poland, Ireland, South Africa and includes over a dozen different regimes over the last 150 years. These cases are not primarily comparative, but serve as pillars holding up a global investigation of the phenomenon. In each case, generation after generation of political opponents has gone to prison since at least the turn of the twentieth century. Yet they also vary widely, as regimes ranging from communist to fascist to colonial to democratic has imprisoned an equally wide range of opponents. Taken together, they yield a sufficiently wide spectrum to allow the reader to understand one of the central characters of modern political history.

This is the first history of the revolutions that toppled communism in Europe to look behind the scenes at the grassroots movements that made those revolutions happen. It looks for answers not in the salons of power brokers and famed intellectuals, not in decrepit economies--but in the whirlwind of activity that stirred so crucially, unstoppably, on the street. Melding his experience in Solidarity-era Poland with the sensibility of a historian, Padraic Kenney takes us into the hearts and minds of those revolutionaries across much of Central Europe who have since faded namelessly back into everyday life. This is a riveting story of musicians, artists, and guerrilla theater collectives subverting traditions and state power; a story of youthful social movements emerging in the 1980s in Poland, East Germany, Czechoslovakia, Hungary, and parts of Yugoslavia and the Soviet Union. Kenney argues that these movements were active well before glasnost. Some protested military or environmental policy. Others sought to revive national traditions or to help those at the margins of society. Many crossed forbidden borders to meet their counterparts in neighboring countries.They all conquered fear and apathy to bring people out into the streets. The result was a revolution unlike any other before: nonviolent, exuberant, even light-hearted, but also with a relentless political focus--a revolution that leapt from country to country in the exciting events of 1988 and 1989. A Carnival of Revolution resounds with the atmosphere of those turbulent years: the daring of new movements, the unpredictability of street demonstrations, and the hopes and regrets of the young participants. A vivid photo-essay complements engaging prose to fully capture the drama. Based on over two hundred interviews in twelve countries, and drawing on samizdat and other writings in six languages, this is among the most insightful and compelling accounts ever published of the historical milestone that ushered in our age.

Transnational Moments of Change offers a broad introduction to the methodology and practice of transnational history. To demonstrate the value of this approach, the work focuses on Europe since World War II, a period whose study particularly benefits from a transnational vantage point. Twelve distinguished contributors from around the globe offer a range of transnational approaches to three continent-wide moments of change. The work begins with a look at the close of World War Two, when liberation from Nazi occupation offered the opportunity for social and political experiment. Next, essays explore the late 1960s as generational change and political dissatisfaction rocked urban centers from Paris to Prague. Finally, the book turns to the fall of communism, a moment of revolutionary change that not only spread rapidly from country to country, but even affected and interacted with protest movements in Western Europe and elsewhere. Together, the essays provide both a new perspective on postwar Europe and a range of models for the historian interested in using the transnational approach.