At a time when globalization is taking a step backward, what’s the best way to organize a global enterprise? The key, explains political economist Steven Weber, is to prepare for a world increasingly made up of competing regions defined by their own rules and standards. Globalization has taken a hit as trade wars and resistance to mass migrations dominate headlines. Are we returning to the old world of stand-alone nations? Political economist Steven Weber argues that we are heading toward something new. Global connectedness will not dissolve but will be defined by “regional” blocs, demarcated more by the rules and standards they follow than by territory. For leaders of firms and NGOs with global ambitions, navigating this transformation is the strategic challenge of the decade. Not long ago, we thought the world was flattening out, offering a level playing field to organizations striving for worldwide reach. As global economic governance expanded, firms shifted operations to wherever was most efficient—designing in one country and buying, manufacturing, and selling in others. Today, the world looks bumpier, with rising protectionism, national struggles over data control, and tensions over who should set worldwide standards. Expect emerging regional blocs to be dominated by the major rule-makers: the US, China, and possibly the EU. Firms and NGOs will need to remake themselves by building complete, semi-independent organizations in each region. Every nation will choose which rule-maker it wants to align with, and it may not be the one next door. This new world has the potential to be more prosperous, Weber argues, but friction between the dynamics of geography and technology will make it more risky. Pioneering research, creative thinking, and colorful storytelling from the frontlines of the global economy combine to make this a must-read for leaders and analysts facing tomorrow’s world.

Globalization is taking a step backward. What, then, is the best way to organize a global enterprise? The key, Steven Weber explains, is to prepare for a world increasingly made up of competing regions with distinct rules and standards. This new condition could be more prosperous, but there will also be more friction and therefore more risk.

Are you taking over, or are you taking orders? Are you going backwards, or are you going forwards? White riot—I wanna riot. White riot—a riot of my own. —The Clash, "White Riot" Ten years after the battle in Seattle sparked an historic struggle against the forces of multinational conglomeration and American imperialism, the anti-globalization generation is ready to reflect on a decade of organizing that changed the face of mass action around the globe. Scholar and activist AK Thompson revisits the struggles against globalization in Canada and the United States at the turn of the century, and he explores the connection between political violence and the white middle class. Equal parts sociological study and activist handbook, Black Bloc, White Riot engages with the key debates that arose in the anti-globalization movement over the course of the past decade: direct or mass action? Summit-hopping or local organizing? Pacifism or diversity of tactics? Drawing on movement literature, contemporary and critical theory, and practical investigations, Thompson outlines the effect of the anti-globalization movement on the white, middle-class kids who were swept up in it, and he considers how and why violence must once again become a central category of activist politics. AK Thompson is a writer and activist living and working in Toronto, Canada. Currently completing his PhD in sociology at York University, Thompson teaches social theory and serves on the editorial committee of Upping the Anti: A Journal of Theory and Action. His publications include Sociology for Changing the World: Social Movements/Social Research (Fernwood Publishing, 2006).

Expanding the horizon of established accounts of Central European art under socialism, this book uncovers the neglected history of artistic engagement with the natural environment in the Eastern Bloc. The turbulent legacy of 1968, which saw the confluence of political upheaval, spread of counterculture, rise of ecological consciousness, and emergence of global conceptual art, provides the setting for Maja Fowkes’s innovative reassessment of the environmental practice of the Central European neo-avant-garde. Focussing on artists and artist groups whose ecological dimension has rarely been considered, including the Pécs Workshop from Hungary, OHO in Slovenia, TOK in Croatia, Rudolf Sikora in Slovakia, and the Czech artist Petr Štembera, 'The Green Bloc: Neo-avant-garde Art and Ecology under Socialism' brings to light an array of distinctive approaches to nature, from attempts to raise environmental awareness among socialist citizens to the exploration of non-anthropocentric positions and the quest for cosmological existence in the midst of red ideology. Embedding artistic production in social, political, and environmental histories of the region, this book reveals the Central European artists’ sophisticated relationship to nature, at the precise moment when ecological crisis was first apprehended on a planetary scale.

Desperate to escape South Texas, Stephanie Elizondo Griest dreamed of becoming a foreign correspondent. So she headed to Russia looking for some excitement—commencing what would become a four-year, twelve-nation Communist bloc tour that shattered her preconceived notions of the “Evil Empire.” In Around the Bloc, Griest relates her experiences as a volunteer at a children’s shelter in Moscow, a propaganda polisher at the office of the Chinese Communist Party’s English-language mouthpiece in Beijing, and a belly dancer among the rumba queens of Havana. She falls in love with an ex-soldier who narrowly avoided radiation cleanup duties at Chernobyl, hangs out with Cuban hip-hop artists, and comes to difficult realizations about the meaning of democracy. is the absorbing story of a young journalist driven by a desire to witness the effects of Communism. Along the way, she learns the Russian mathematical equation for buying dinner-party vodka (one bottle per guest, plus an extra), stumbles upon Beijing’s underground gay scene, marches with 100,000 mothers demanding Elián González’s return to Cuba, and gains a new appreciation for the Mexican culture she left behind.

This is the first full-length study of relations among the communist states. The study explores the implications of the status of Yugoslavia and China, the significance of the Hungarian revolution and the position of Poland in the Soviet bloc, and clarifies the Khrushchev-Gomulka clash of 1956 and the complex role of Tito. Zbigniew Brzezinski emphasizes the role of ideology and power in the relations among the communist states, contrasting bloc relations and the unifying role of Soviet power under Stalin with the present situation. He suggests that conflicts of interest among the ruling elites will result either in ideological disputes or in weakening the central core of the ideology, leading to a gradual decline of unity among the Communist states. The author, while on leave from his post as Professor and Director of the Research Institute on Communist Affairs, Columbia University, and serving on the U.S. State Department's Policy Planning Council, has revised and updated his important study and added three new chapters on more recent developments. He gives particular attention to the Sino-Soviet dispute.

The story of the experimental zeitgeist in Eastern European art, seen through personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Throughout the 1970s, a network of artists emerged to bridge the East-West divide, and the no less rigid divides between the countries of the Eastern bloc. Originating with a series of creative initiatives by artists, art historians, and critics and centered in places like Budapest, Poznań, and Prague, this experimental dialogue involved Western participation but is today largely forgotten in the West. In Networking the Bloc, Klara Kemp-Welch vividly recaptures this lost chapter of art history, documenting an elaborate web of artistic connectivity that came about through a series of personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Countering the conventional Cold War narrative of Eastern bloc isolation, Kemp-Welch shows how artistic ideas were relayed among like-minded artists across ideological boundaries and national frontiers. Much of the work created was collaborative, and personal encounters were at its heart. Drawing on archival documents and interviews with participants, Kemp-Welch focuses on the exchanges and projects themselves rather than the personalities involved. Each of the projects she examines relied for its realization on a network of contributors. She looks first at the mobilization of the network, from 1964 to 1972, exploring five pioneering cases: a friendship between a Slovak artist and a French critic, an artistic credo, an exhibition, a conceptual proposition, and a book. She then charts a series of way stations for experimental art from the Soviet bloc between 1972 and 1976—points of distribution between studios, private homes, galleries, and certain cities. Finally, she investigates convergences—a succession of shared exhibitions and events in the second half of the 1970s in locations ranging from Prague to Milan to Moscow. Networking the Bloc, Kemp-Welch invites us to rethink the art of the late Cold War period from Eastern European perspectives.