The history of the modern riot parallels the development of the modern novel and the modern lyric. Yet there has been no sustained attempt to trace or theorize the various ways writers over time and in different contexts have shaped cultural perceptions of the riot as a distinctive form of political and social expression. Through a focus on questions of voice, massing, and mediation, this collection is the first cross-cultural study of the interrelatedness of a prevalent mode of political and economic protest and the variable styles of writing that riots inspired. This volume will provide historical depth and cultural nuance, as well as examine more recent theoretical attempts to understand the resurgence of rioting in a time of unprecedented global uncertainty. One of the key contentions of this collection is that literature has done more than merely record riotous practices. Rather literature has, in variable ways, used them as raw material to stimulate and accelerate its own formal development and critical responsiveness. For some writers this has manifested in a move away from classical norms of propriety and accord, and toward a more openly contingent, chaotic, and unpredictable scenography and cast of dramatis personae, while others have moved towards narrative realism or, more recently, digital media platforms to manifest the crises that riots unleash. Keenly attuned to these formal variations, the essays in this collection analyse literature's fraught dialogue with the histories of violence that are bound up in the riot as an inherently volatile form of collective action.

The history of the modern riot parallels the development of the modern novel and the modern lyric. Yet there has been no sustained attempt to trace or theorize the various ways writers over time and in different contexts have shaped cultural perceptions of the riot as a distinctive form of political and social expression. Through a focus on questions of voice, massing, and mediation, this collection is the first cross-cultural study of the interrelatedness of a prevalent mode of political and economic protest and the variable styles of writing that riots inspired. This volume will provide historical depth and cultural nuance, as well as examine more recent theoretical attempts to understand the resurgence of rioting in a time of unprecedented global uncertainty. One of the key contentions of this collection is that literature has done more than merely record riotous practices. Rather literature has, in variable ways, used them as raw material to stimulate and accelerate its own formal development and critical responsiveness. For some writers this has manifested in a move away from classical norms of propriety and accord, and toward a more openly contingent, chaotic, and unpredictable scenography and cast of dramatis personae, while others have moved towards narrative realism or, more recently, digital media platforms to manifest the crises that riots unleash. Keenly attuned to these formal variations, the essays in this collection analyse literature's fraught dialogue with the histories of violence that are bound up in the riot as an inherently volatile form of collective action.

The history of the modern riot parallels the development of the modern novel and the modern lyric. Yet there has been no sustained attempt to trace or theorize the various ways writers over time and in different contexts have shaped cultural perceptions of the riot as a distinctive form of political and social expression. Through a focus on questions of voice, massing, and mediation, this collection is the first cross-cultural study of the interrelatedness of a prevalent mode of political and economic protest and the variable styles of writing that riots inspired. This volume will provide historical depth and cultural nuance, as well as examine more recent theoretical attempts to understand the resurgence of rioting in a time of unprecedented global uncertainty. One of the key contentions of this collection is that literature has done more than merely record riotous practices. Rather literature has, in variable ways, used them as raw material to stimulate and accelerate its own formal development and critical responsiveness. For some writers this has manifested in a move away from classical norms of propriety and accord, and toward a more openly contingent, chaotic, and unpredictable scenography and cast of dramatis personae, while others have moved towards narrative realism or, more recently, digital media platforms to manifest the crises that riots unleash. Keenly attuned to these formal variations, the essays in this collection analyse literature's fraught dialogue with the histories of violence that are bound up in the riot as an inherently volatile form of collective action.

A History of Riots is the result of a conference held by the London Socialist Historians Group in early 2012, designed to look again at the historical aspects of riots in the wake of the August 2011 riots in the UK. Many historians had thought that riots were a method of protest and revolt which had given way to more organised forms of expression, from trade unions to political parties, during the course of the nineteenth century. Events have proven this idea to be incorrect. Riots still take place around the world on a regular basis. The contributors to A History of Riots probe various aspects of riots in order to examine the historical issues and concerns that motivate them and dictate their course and to better understand why they take place in the current day. Sean Creighton looks at the Trafalgar Square riots in London in 1887, referred to as ‘Bloody Sunday’. Ian Birchall analyses how riots have been represented in fiction, while Neil Davidson reviews riotous activity around the Scottish Act of Union in 1707. Keith Flett looks at what is sometimes held to be the peak of British riot history, the Chartist period of the 1840s, while John Newsinger offers a different perspective: not a riot inspired by the crowd or the ‘mob’, as media commentators persist in naming protesters, but one driven by authority, a police riot in the US in the 1930s. There are editorial introductions and conclusions that place these specific historical studies of aspects of the history of riots in a wider methodological and theoretical framework, looking at the work of some of the foremost historians of riots, including George Rude, and more recent material by Adrian Randall, Andrew Charlesworth and others. The perspective of the book is clear. Riots are something which is an important part of history, but they also remain part of the present too. In this sense, understanding their history is an important task for historians and all those interested in how, and in what forms, protest develops. This book represents a contribution to, and promotes, a discussion of both the history of riots and how an examination of this can help provide a better understanding of riots today.

A fresh argument for rioting and looting as our most powerful tools for dismantling white supremacy. Looting -- a crowd of people publicly, openly, and directly seizing goods -- is one of the more extreme actions that can take place in the midst of social unrest. Even self-identified radicals distance themselves from looters, fearing that violent tactics reflect badly on the broader movement. But Vicky Osterweil argues that stealing goods and destroying property are direct, pragmatic strategies of wealth redistribution and improving life for the working class -- not to mention the brazen messages these methods send to the police and the state. All our beliefs about the innate righteousness of property and ownership, Osterweil explains, are built on the history of anti-Black, anti-Indigenous oppression. From slave revolts to labor strikes to the modern-day movements for climate change, Black lives, and police abolition, Osterweil makes a convincing case for rioting and looting as weapons that bludgeon the status quo while uplifting the poor and marginalized. In Defense of Looting is a history of violent protest sparking social change, a compelling reframing of revolutionary activism, and a practical vision for a dramatically restructured society.

In a bold work that cuts across racial, ethnic, cultural, and national boundaries, Sheila Smith McKoy reveals how race colors the idea of violence in the United States and in South Africa—two countries inevitably and inextricably linked by the central role of skin color in personal and national identity. Although race riots are usually seen as black events in both the United States and South Africa, they have played a significant role in shaping the concept of whiteness and white power in both nations. This emerges clearly from Smith McKoy's examination of four riots that demonstrate the relationship between the two nations and the apartheid practices that have historically defined them: North Carolina's Wilmington Race Riot of 1898; the Soweto Uprising of 1976; the Los Angeles Rebellion in 1992; and the pre-election riot in Mmabatho, Bhoputhatswana in 1994. Pursuing these events through narratives, media reports, and film, Smith McKoy shows how white racial violence has been disguised by race riots in the political and power structures of both the United States and South Africa. The first transnational study to probe the abiding inclination to "blacken" riots, When Whites Riot unravels the connection between racial violence—both the white and the "raced"—in the United States and South Africa, as well as the social dynamics that this connection sustains.

Young people are walking away from the church and those still in the church often struggle with indifference about their faith. But it doesn't have to be this way. It's time for a revolution, a holy uprising. A riot. With passion and authenticity, teen author Sara Barratt calls on her generation to reject apathy and embrace a daring, costly faith. Not content with safe religion that demands nothing of us, Sara shows teens how they can stop giving in to the status quo and devote themselves fully to Christ, following him no matter what their friends do or the culture around them does. She challenges them to give everything over--their comfort zones, their time, their loyalties, their pride--and discover that in losing control they are gaining the life that was meant for them all along. Love Riot is a battle cry from one teen to another to embrace a life of wholehearted commitment and relentless abandon for Christ . . . no matter the cost.