The lofty view of man’s progress called ‘history’ deserves a new perspective-that of the common person, not liberated but burdened by modernity.

The American anarchist, primitivist philosopher, and author John Zerzan critiques agriculture-based civilization as inherently oppressive and advocates drawing upon the life of hunter-gatherers as an inspiration for what free society should look like. Subjects of his criticism include domestication, language, symbolic thought, and the concept of time.

This book includes sixteen essays ranging from the beginning of civilization to today’s general crisis. Zerzan provides a critical perspective about civilization.

• Zerzan’s previous books, Against Civilization, Running on Emptiness, Twilight of the Machines, and Why Hope? explore the complex duality role of man in and against nature.

John Zerzan is an American anarchist and primitivist philosopher and author. Zerzan is the editor Black and Green Review,(http://www.blackandgreenreview.org/)  a bi-annual compendium of anarcho-primitivist thought. He is also the host of Anarchy Radio in Eugene on the University of Oregon‘s radio station KWVA. He has also served as a contributing editor at Anarchy Magazine and has been published in magazines such as AdBusters. He does extensive speaking tours around the world.

A Season of Madness takes readers to cultural hinterlands where Carnival is strange, marvelous, and even a bit frightening. Where Spring is welcomed by clowns carrying inflated pig bladders and sheepskin monsters walk the land with clubs covered in hedgehog spines and plows are dragged over cobblestone streets by villagers in masks painted with blood. Folk horror fans take heart as the old world beckons with the coming of Spring!

Readers will learn about regional and local celebrations’ origins, history, and quirkiness from ancient Rome to modern Bulgaria. A Season of Madness explores the interconnectivity of pagan beliefs throughout Europe and how those beliefs and traditions evolved over time and through the Christian conquest.

A Season of Madness is sumptuously illustrated with over one hundred historical and modern images and illustrations in this deluxe paperback edition.

Ridenour’s first book, Krampus and the Old, Dark Christmas: Roots and Rebirth of the Folkloric Devil (2018) is considered by critics the definitive authority on pagan winter celebrations. Aside from his books and podcast, Ridenour is a sought-after expert and lecturer.

The modern-day financial crisis is nothing really new, reveals master researcher Joseph P. Farrell in Babylon’s Banksters. Banking has been tinkered with and controlled for the past thousand years of human history.

• See how a seductively simple formula devised by a large and powerful Chinese family led to the “credit default swaps” bust.
• Read how astrology and a fascination for gemstones played into the banking operations of the super-rich.
• What are the long-term goals of the most powerful international cabals?

In this latest installment of his remarkable series of books of alternative science and history, Joseph P. Farrell outlines the consistent pattern and strategy of bankers in ancient and modern times, their desire to usurp the money creating and issuing power of the state, substituting a facsimile of money-as-debt. Here, Farrell peels back the layers of deception to reveal the possible deep physics that the “banksters” have used to aid them in their financial policies.

Joseph P. Farrell is also the author of The Philosopher’s Stone: Alchemy and the Secret Research for Exotic Matter, Transhumanism (with Scott DeHart), and The Financial Vipers of Venice.

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The War on Drugs is now a century old. The question isn’t why aren’t we winning, it’s why are we fighting? Dr. Henry Smith Williams asked that question in his 1938 cult-classic book, Drug Addicts Are Human Beings.

In 1938, Dr. Henry Smith Williams saw the effects of decades of drug laws enacted between 1909 and 1924 that banned the importation and use of opium, cocaine, and marijuana and criminalized drug users to find out who benefited. No surprise, it wasn’t the American public who were convinced by complicit newspapers that removing drugs and immigrants would eradicate crime but the pharmaceutical industry and law enforcement.

Dr. Williams’ research and observations have proven true to a scale he could never have imagined.

Conservative cultural warriors in the early 1900s found a singular cause of every societal wrong: DRUGS. Especially when black, brown, and poor people use drugs. Harry Anslinger, who led the Federal Bureau of Narcotics from 1930-1962, escalated the War in the wake of alcohol prohibition. Anslinger focused on marijuana, ignored the science of the day, and proclaimed it a scourge upon America. Drug laws enforced by newly empowered police at the height of Jim Crow legislation, eugenic ‘science,’ and rampant xenophobia created governmental policies that remain in place to this day.

Dr. Williams shows that the solution is treatment, not criminalization. But more importantly, he demonstrates the War on Drugs’ sinister origins that are hauntingly familiar to anyone who’s experienced friends and family dealing with the aftermath of the Purdue Pharma Oxycontin tragedy.

Feral House editor Christina Ward provides a brief updated history of the War on Drugs since 1938 and a biographical sketch of author Dr. Henry Williams, a flawed yet vigorous patient advocate. Contains reproductions of original illustrations by the author’s brother and fellow physician, Dr. Walter Huntington Williams.

In this sequel to Joseph P. Farrell’s Babylon’s Banksters, the banksters have moved from Mesopotamia via Rome to Venice. There they manipulated popes and bullion prices, clipped coins, sacked Constantinople, destroyed rival Florence, waged war, burned “heretics,” and suppressed hidden secrets threatening their financial supremacy . . . until Giordano Bruno and Christopher Columbus broke the banking cartel’s control of information and bullion.

We might wonder—with some justification—how an excursion into such magical mediaeval matters could possibly shed light on the contemporary debate on finance, commerce, credit, and debt taking place around the world.

As will be seen in these pages, the modern global economy, with its bonds, annuities, bills of exchange, alchemical paper “fiat money,” bullion, wage-slavery, national debts, private central banking, stock brokerages, and commodities exchanges, in a sense began in the Middle Ages, for all these institutions began for quite perceptible and specific reasons during that time.

The centerpiece in this debate is of course money: what, and who, does it really represent? And how did it manage to begin as a purely metaphysical phenomenon, with deep ties to a cosmological and indeed topological and alchemical metaphor of the physical medium, thence to transmute itself into the conception that money is bullion, and thence once again to transmute itself back into a purely metaphysical construct of credit and debt denominated on tokens of paper?

Mel Gordon presents a companion volume to his highly praised pictorial history Voluptuous Panic: The Erotic World of Weimar Berlin

Mel Gordon, author of Voluptuous Panic, the celebrated history about the sex culture of Weimar Berlin, returns with a stunningly illustrated look at Paris, The City of Pleasure, prior to and during German occupation during World War II.

Horizontal Collaboration encompasses the Jazz Age, Depression, World War and Occupation, and Liberation. It concludes with the shuttering of the licensed brothels in 1946, which some Parisian intellectuals thought was the final “destruction of French civilization”.

The term “Horizontal Collaboration” refers to the sexual liaisons between French civilians and German occupiers from 1940 to 1944. These were extremely widespread and included both individual wartime relationships in addition to prostitution. As Allied armies swept across the French countryside, thousands of young women—and some men—were savagely punished by the authorities or by vigilante crowds, becoming a source of deep national shame.

Author Gordon redefines the pejorative term to mean something much broader: French men and women “horizontally collaborated” to overcome all social obstacles, divisions, and regulations. These obstacles include married and unmarried couples, straights and homosexuals, foreigners and locals, gun-toting soldiers and their vanquished subjects. The natural yearning for sexual pleasure equally corrupted all cohabitating partners.

Michael: A German Destiny in Diary Form is a semi-autobiographical novel authored by the German propagandist Joseph Goebbels and published in 1929. It is a three-part work of which only Parts I and III have survived. The novel is a combination of Goebbels’ own thoughts and the life of his best friend Richard Flisges who had actually fought in World War I, and later ended his college studies to work in a mine where he died in an accident. That is what happens to the novel’s protagonist Michael who meets his “sacrificial death” on 30 January 1921.

Michael was a significant popular success, going through seventeen printings.

Chicago history as told by the relics of her forgotten people and places. The observed made real to exorcise the hauntings of do-gooders and social engineers.

Chicago was a city of wanderers, truants, and delinquents. It was home to the largest tuberculosis sanitarium in the country, as well as a dizzying number of public and private institutions for wayward children, indigents, the mad, and the poor. Chicago’s socially progressive institutions were influential and respected as saviors of the immigrants and “lower classes.” Yet, the savage race riots of 1919 laid bare the eugenic truth of an ongoing, second Civil War operating as the Northern status quo.

Mother Chicago is the story of three of these institutions – an obscure juvenile experiment called the Chicago Parental School, the great Municipal Sanitarium, and the amalgam of poor house, asylum, and cemetery that occupied the far northern boundaries of the City. This sector of quarantine and detention built on stolen lands acted as a limiter on the production of dreams and an orphan zone for people cast adrift by societal decree. Outside its walls, City power worked in ways both mysterious and transparent while the land harbored peculiar hallucinations that still must be banished.

As the City grew larger, these institutions became fissures in the streets and the transport lines, odd reminders of the Gilded Age, which had made them. Mother Chicago tells the story of the corporeal specters used against the working class: redlining, property speculation, racism, and collateralized debt. Like the game of snakes and ladders, the City lays her traps for the unlucky on a numbered grid — easy to navigate yet impossible to escape.

Billheimer turns a life-long obsession with the ephemera of Chicago history to tell the City’s story through the relics of her forgotten places.

Mother Chicago is a kaleidoscopic romp through America’s most intriguing and confounding city, a city of recent ruins and distant cultures, where the past keeps erupting into the future. In prose that summons the ghostly voices of the machine age, Martin Billheimer excavates the moral core of Chicago by investigating what it did to its own lost children, the kids who were born losers at the game of late-capitalism, the exiles and runaways, the orphaned and unwanted, in a place where the city became the stern parent of its own savage history. –Jeffrey St. Clair, author Born Under a Bad Sky, editor CounterPunch Magazine

Martin’s book elegantly and harrowingly delineates a concept of American education that dwarfs Catholic nuns for sheer evil, a social engineering experiment to kill the gypsy in us all, every mother’s son and daughter indoctrinated with numbed-out stooge as the goal, students with flunky in the bloodstream, capitalism’s WORST form of imperialism, THEY WERE ALWAYS COLONIZING…US!–Daniel Riccuito, The Depression Alphabet Primer, editor of The Chisler

Martin Billheimer’s, Mother Chicago, should be read by everyone who wants to revisit their past. Martin is a living encyclopedia of historical knowledge. With his keen introspection, humor and factual history of old Chicago, I felt that I was actually there looking through his eyes while exploring his childhood home. Brilliant! – HY Thurman, Author, Co-founder of the Young Patriots Organization and the Rainbow Coalition

“Martin’s style is fascinating and engrossing, and his subject is rendered in a kind of shadow that feels both totally mythic and undeniably attuned to that of its time and place. Reading it feels investigative, like a long journalistic piece, while being much more invested in impression than in detail.” – Bryce Lucas, Seminary Co-op Books, Chicago

Frankenstein was first released in 1818 anonymously.

The credit for Mary Wollstonecraft Shelley’s authorship first occurred in 1823 when a French edition was published. A year earlier, Mary’s revolutionary husband, the influential poet, dramatist, novelist, and essayist Percy Bysshe Shelley, died.

The same year Frankenstein, or, The Modern Prometheus (its full title) was first published, so was another work by Mary’s husband that shares use of the word Prometheus. The dramaPrometheus Unbound was indeed credited to Percy Shelley.

The secret admission of many experts in English literature is that Mary Wollstonecraft Shelley did not write a good portion of Frankenstein. In Shelley Unbound, Oxford scholar Scott D. de Hart examines the critical information about Percy Shelley’s scientific avocations, his disputes against church and state, and his connection to the illegal and infamous anti-Catholic organization, the Illuminati.

Scott D. de Hart’s fascinating investigation into Frankenstein and the lives of Mary Wollstonecraft and Percy Shelley results in an inconvenient truth regarding what we have long believed to be a great early example of the feminist canon.

Scott D. de Hart was born and raised in Southern California. He graduated from Oxford University with a PhD specializing in nineteenth-century English literature and legal controversies.

From elements of medieval witchcraft reworked in 18th-century folk Catholicism, the Krampus has risen to embody a new countercultural holiday.

Once the mythic bogeyman of European Catholic childhoods and long presented as the opposite of Santa Claus, Krampus is a growing presence in American culture. With the appearance of the demonic Christmas character Krampus in contemporary Hollywood movies, television shows, advertisements, and greeting cards, medieval folklore Krampus-related events and parades in North America and Europe, Krampus is a growing phenomenon.

Though the Krampus figure is now familiar, not much can be found about its history and meaning, thus calling for a book like Al Ridenour’s The Krampus: Roots and Rebirth of the Folkloric Devil. With Krampus’s wild, graphic history, Feral House has hired the awarded designer Sean Tejaratchi to take on Ridenour’s book about this ever-so-curious figure.
Al Ridenour has lectured on Krampus at the Goethe Institutes in Los Angeles. He became somewhat of an internet phenomenon himself due to the hilarious hijinks he coordinated with the controversial Cacophony Societies.