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Years ago, while reading Irving Howes autobiography, The Margin of Hope, I came across a humorous but insightful observation made by Lionel Abel about New York during the 1930s: It became the most interesting part of the Soviet Union that one part of the country in which the struggle between Stalin and Trotsky could be openly expressed.
With hell as other people, the theatrical installationists Gale Gate et al. keep their audience right in the thick of it.
This kind of history, which reduces space to a stage, that pays attention to events unfolding in time alone, might be called imperial history