This essay analyzes the ambivalent status of objects in Pablo Neruda’s poetry. Drawing on Walter Benjamin’s studies of the paradoxes present in the figure of the collector, it traces the way poetic objects in Neruda’s odes appear simultaneously as treasured possessions and utilitarian agents of revolution. Although the portrayal of everyday objects in his later work has been read as propagandistic, it is in their personal link to the poet as collected objects that Neruda’s objects retain the potential for social change Benjamin outlines in the collector.

In 1943, on his way back to Chile, after having finished his stint as Consul General to Mexico, Pablo Neruda stopped in Peru and visited Machu Picchu. While written before he became a card-carrying member of the Party, “Alturas de Macchu Picchu” (“Heights of Macchu Picchu”) can be read not only as expressing his reactions to the physical beauty of the place, but also as depicting in poetic terms his evolution from the vanguardista of the first two volumes of Residencia en la tierra (1933, 1935) to a politically engaged writer. However, in addition to reflecting this political conversion, one can see in “Alturas de Macchu Picchu” a successful attempt at writing a left-wing poetry that builds on the achievements of the vanguardia and avoids the dogmatic pitfalls of the then mandatory socialist realism.

This chapter highlights the factors shaping the trajectory of Indian agriculture since Independence, which has undergone notable transformations. The introduction of high-yielding varieties of wheat and rice ushered in a Green Revolution that propelled India from chronic food insecurity to a situation where food surpluses are the norm. This shift has been marked by increased reliance on markets for inputs, mechanization, a growing commercial orientation for output and the growth of poultry and livestock, often supported by government subsidies and increasingly driven by private investment. These changes have occurred even as traditional institutions, such as interlinked transactions and relational contracts with traders, persist. Indian agriculture has defied global patterns of farm consolidation and is dominated by smallholdings that support a disproportionate number of people. The Indian state faces the formidable challenge of negotiating a trilemma of ensuring the economic viability, environmental sustainability and social sustainability of this large sector.

Bangladesh became an independent country in 1971. Its territory was formed of the former East Pakistan (1947–1971). Consisting mainly of the well-watered and alluvial eastern Bengal delta, Bangladesh’s economy was mainly agricultural in 1971. Although such large-scale industries as textiles and tea and such small-scale industries as handloom weaving existed on an extensive scale, an overwhelmingly large proportion of the employed workforce was engaged in agriculture. High population density, a low land–person ratio and rural poverty made diversification of the economic base an acute necessity and a challenge. A significant transformation did happen through the Green Revolution, an effective social policy that delivered a demographic transition, and a few large-scale industries forged ahead. The chapter shows how market forces, global influences and state policies combined to shape that process.

This chapter explores how a group of North African thinkers rethought the meaning of the Arab revolution in the 1970s. Departing from anti-colonial nationalism and Marxist orthodoxy, Abdallah Laroui and Hichem Dja?t called for a deeper cultural and intellectual transformation grounded in historicist thinking. Their seminal books—La Crise des intellectuels arabes (1974) and La Personnalité et le devenir arabo-islamique (1974)—articulated visions of a new Arab future that rejected both Salafism and westernization in favor of a rational and historicized approach to Arab modernity and the future. Though published in Paris and shaped by networks in Beirut and the Arab Left, their ideas were targeted at audiences back home in Morocco and Tunisia. The chapter situates their work by tracing the complex reception of these essays across North African intellectual publics. Ultimately, it argues that the effectiveness of revolutionary thought was not determined solely by publication or prestige, but by the ability to engage meaningfully with local contexts and contested ideas of tradition and modernity. As as their reception reveals, audiences were not passive: they questioned, resisted, and sometimes rejected these “prophets”— because they insisted on situating theory within lived political constraints.

This chapter argues that, in order to understand the association between protest song and the modern musical genre known as folk music, we need to contextualize it within a longue durée of protest song and popular politics. It does this by tracing the history of Anglophone and Germanic protest song from the later sixteenth century up to Bob Dylan’s 1965 appearance at the Newport Folk Festival, taking in labourers’ songs, the ballads of seventeenth-century revolutions, the anti-democratic theories of the ancient regime, the emergence of the idealised and self-aware labouring poet in the wake of the French Revolution, and the output of Chartists, Fabians,twentieth-century working-class movements and the Critics Group. These developments are placed within two contexts: the bottom-up struggle for a political voice, and the articulation of an ideology of Volk and folk. The result is to disrupt any implicit affinity between folk as a genre and political protest, introducing instead a more heterodox and responsive understanding of the evolving links between musical style, ideology, and a popular voice.

This chapter examines the dialectic of positive and negative utopian tendencies in China Miéville’s Bas-Lag trilogy. Critically acclaimed as a landmark series in the British New Weird subgenre, Perdido Street Station (2000), The Scar (2002), and Iron Council (2004) offer readers rich worldbuilding, blending neo-Victorian steampunk with semi-fascist capitalist oppression. Within the largely negative terrain of Perdido Street Station moments of utopian positivity can nonetheless flourish – most memorably in the inter-species love affair between the scientist protagonist and his insectoid partner. The Scar, which is set on a floating city-state, offers a positive utopian space partly modelled on the social organisation of real-world pirate ships on the eighteenth-century Atlantic. However, it also plays on Ursula Le Guin’s notion of the ‘ambiguous utopia’, with counter-utopian as well as counter-counter-utopian narrative elements. The third novel in the series, Iron Council, sees a transition towards communism, focusing on the political construction of revolutionary utopian ideals. Together, Miéville’s novels present readers with a heady mix of fantastic worldbuilding and Marxist utopian politics, with overt references to the Paris Commune, the Russian Revolution, and, more recently, the anti-globalisation protests at the World Trade Organization conference in Seattle in 1999.

This chapter explores anti-utopian satire in bestselling British author Terry Pratchett’s Discworld series. Like the anti-chivalric satire of Cervantes, Shakespeare, and Voltaire, the Discworld books celebrate pragmatism and local knowledge rather than political ideals. The Discworld is alive with vivid utopian impulses, however, the chapter argues that they frequently lack concrete detail. Pratchett is more concerned with constructing a colourful world of humour, heroism, and villainy. The Ankh-Morpork books reflect on the processes of historical change, accelerating a medieval city-state into liberal industrial modernity via an array of fantastically estranged forms. The city itself, however, fails to actualise into a utopian vision of the future. Rather, Pratchett’s fantasy series articulates a deep suspicion of the kind of political radicalism often associated with utopian thinking. Through a close reading of two books in the series, Night Watch (2002) and Making Money (2007), the chapter considers how Pratchett’s fantasy world laments structural violence whilst lampooning utopian remedies to such violence, such as democratic elections, trade unions, industrial action, or new kinds of post-capitalist value.

The new nationalism of the Xi Jinping era, which has brought together political nationalism and cultural nationalism – two largely opposing streams between 1919 and 1989 – has redefined the CPC and the PRC. On paper, the party is a class organization while the PRC is a class dictatorship that sanctions class sovereignty rather than popular sovereignty. Since 2001, the party has been represented as a national party as well as a class organization. Representing the nation entails the promotion of national culture, and a major component of the Chinese Dream is cultural revival. Consequently, the CPC and the PRC are nationalized in a shift from Marxist classism to synthesized Chinese nationalism. Their class identities appear to be at odds with their national identities, but the tension is minimized as the party turns Marxism into an empty signifier and sinicizes it out of existence.

This chapter tracks the importance and resilience of CPC ideology by examining the development of Mao Zedong Thought from his early Communist writings (1927–1940) through to Yan’an Rectification (1942–1945) and then during his reign as Supreme Leader (1949–1976). It then explores Mao Zedong Thought’s importance for the CPC today. CPC leaders since Mao’s death have invoked, and continue to invoke, Mao Zedong Thought for legitimation and to exhibit continuity despite shifts away from the ideology and practice of the Mao era. Mao Zedong Thought thus fulfills a legitimative need rather than a social one; CPC leaders must acknowledge, and often reference, Mao Zedong Thought to project continuity even if the ruptures since Mao’s death have resulted in an un-Maoist Party-state.

Moving between absolutist Prussia, urban bourgeois Leipzig, and late Hanoverian/early Victorian Britain, Felix Mendelssohn experienced and actively engaged with the (cultural) politics of pre-1848 Europe. His correspondence reveals him to have been distinctly inclined towards a reformist, liberal standpoint, yet increasingly sceptical of the political difference he or art could make. Despite remaining in Berlin, Fanny Hensel (as well as their younger sister Rebecka) appears to have greater radical sympathies – this in marked contrast to the conservative politics of her husband Wilhelm Hensel.

When the atrocities of the French Revolution led Romantic authors to test the viability of anti-imperial imaginaries in their poetry, many of them relocated revolution from Europe to so-called Oriental geographies. The cultural and aesthetic distance of exoticized topographies generated a spectacle of revolutionary violence that could be consumed safely in Britain. In the poetic works of Thomas Moore (Lalla Rookh), Felicia Hemans (The Abencerrage), Lord Byron (Childe Harold’s Pilgrimage and The Giaour), Percy Shelley (Laon and Cythna), Robert Southey (Thalaba the Destroyer), and Thomas Love Peacock (Ahrimanes), revolutionary struggle is envisaged as an enterprise marked by a cyclical logic that anticipates the return of empire: It is redefined as an inevitable failure to undo oppressive power structures. An ethnoracially demarcated space of fantasy, the Orient allows these poets to experiment with revolutionary narratives in a way that affectively neutralizes the lived trauma of revolution by reducing it to a dehistoricized and yet universalizable configuration. In the Orientalist poetry of Romantics, then, revolution becomes imaginable as an anti-imperial event with the caveat that its present unrealizability is affirmed in its consumption as a culturally and ethnoracially distanced spectacle.