You might have noticed that at the end of January we published “Supplement S1” of Antipode’s 49th volume – The Revolutionary Imperative: Engaging the Work of Neil Smith, edited by Nik Heynen, Andrew Kent, Katherine McKittrick, Vinay Gidwani and Wendy Larner. Considering the entire range of Smith’s oeuvre, it consists of newly commissioned essays by comrades from across the human sciences. And thanks to the support of the Antipode Foundation, the online version of The Revolutionary Imperative is free to download, and a print version is available to buy for just GBP £7.
Whether writing about gentrification or nature, the production of space or the politics of scale, uneven development or public space, globalisation or revolution, the geographer Neil Smith was nothing if not provocative. Neither Festschrift nor hagiography, The Revolutionary Imperative critically engages Neil’s work–not to unpick the rich tapestry, but to draw the threads out and spin them on in new directions.
We realise that you don’t need a paperbound copy, but many of us would like one, and as Walter Benjamin once said there’s something radical about a “relationship to objects which does not emphasise their functional, utilitarian value–that is, their usefulness”. The Antipode Foundation won’t make any money out of sales, but you’ll be critiquing the present by parting with some cash?! And if you’re strictly 21st century, the cover* and essays are available as pdfs here and here respectively:
Neil Smith’s Long Revolutionary Imperative
Nik Heynen, Andrew Kent, Katherine McKittrick, Vinay Gidwani and Wendy Larner
Calculating the Debt Gap
On the Image of the Country and the City
The Tight Dialectic: The Anthropocene and the Capitalist Production of Nature
Susan W.S. Millar and Don Mitchell
Geoeconomics in the Long War
Planetary Rent Gaps
Neil Smith’s Scale
John Paul Jones III, Helga Leitner, Sallie A. Marston and Eric Sheppard
Uneven Development and Scale Politics in Southern Africa: What We Learn From Neil Smith
Patrick Bond and Greg Ruiters
*Many thanks to Deborah Cowen for permission to use her brilliant work on the cover.