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Mumia Abu-Jamal
Kathy Acker
Erje Ayden
Jean Baudrillard
Barbara Barg
Bernadette Corporation
Dhoruba Bin Wahad
William Burroughs
Pierre Clastres
Maurice G. Dantec
Gilles Deleuze
Jane DeLynn
Tony Duvert
Shulamith Firestone
Bob Flanagan
Michel Foucault
Eldon Garnet
Rainer Ganahl
Veronica Gonzalez
Félix Guattari
Amira Hass
Fanny Howe
Luce Irigaray
Alain Joxe
Liz Kotz
Chris Kraus
Julia Kristeva
Jurg Laederach
Sylvère Lotringer
Jean-François Lyotard
Christian Marazzi
Cookie Müeller
Heiner Müller
Eileen Myles
François Peraldi
David Rattray
Gerald Raunig
Suely Rolnik
Ann Rower
Assata Shakur
Michelle Tea
Lynne Tillman
Masha Tupitsyn
Paul Virilio
Paolo Virno
Mark von Schlegell
David Wojnarowicz
Heather Woodbury
Nina Zivancevic
Heiner Müller

Germania

Q: And do you feel history is working for you?

A: Absolutely. [He laughs] This is my chance.

Q: History is making you...

A: Yes, the last German writer.

Heiner Müller, East German author of Hamletmachine and Medea, was the preemient German successor of Bertholt Brecht at the end of the twentieth century. In this collection of essays, stories, and interviews conducted by Sylvère Lotringer, Müller reflects on the laws of history from the standpoint of someone straddling the Berlin Wall. Müller saw the wall as both repression and protection of his compatriots from the inevitable triumph of capitalism. His work evokes the wit and compactness of Brecht, with an added psychotropic dimension. Haunted by World War II, Müller was a leading figure in European contemporary literature, whose writing anticipates a future beyond the bi-polarity of twentieth-century politics.

Germania

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“German playwrights assault political issues more aggressively than Americans--Buchner, Brecht and Müller not only wrestle with politics, they do so in provocative ways that shatter conventional dramatic structure. They're willing to slap their audiences in the face and drag them kicking and screaming into new aesthetic realms. It is Müller's ability to hammer politics into art that explains why he continues to disturb, shock and seduce audiences.”

–Arthur Holmberg American Theatre