From the Chicago Tribune

By Mark Jacob

Lucy Parsons, an anarchist firebrand who was one of the most enigmatic Chicagoans ever, might fit in better today than she did during her own time a century ago.

She was a black woman married to a white man. Scandalous then, no big thing now.

”I am speaking neither as an anarchist nor as a member of the C.C.F.” Christos Tsakalos clarified as we spoke on the phone. ”I am speaking as a member of the Committee of Struggle from Korydallos Prison, which represents 1500 prisoners who have been protesting the past two weeks against the new correctional code, which will result in the violation of the basic rights of prisoners in case it passes”, he explains and highlights that there is an existing network in Greece’s prisons and the mobilizations will escalate if the government does not make concessions.
He also stated that a Ministry of Justice official who went to Korydallos Prison and discussed these matters with the committee found the demands to be fair. Nevertheless, he clarified that this was his own personal stance and not that of the Ministry. ”We will go to extremes because we understand that they are trying to create a prison within the prison” says Christos, who was detained in solitary confinement from 2015 through to 2017, on the other end of the phone line.

From Mpalothia by Imprisoned Conspiracy of Cells of Fire FAI-IRF Member Panagiotis Argyrou

Time is the illness of reality. In prison, time seems to poison the atmosphere. The air thickens as though it is flooded with lead filings and each and every day our lungs are infested with this oxygen so toxic that it weighs on us again and again, more so with each passing day.

From CrimethInc.

Why Are Anarchists Suddenly Showing up in so many Korean Films?

This year, several major films from South Korea depict rebels or outright anarchists. Okja portrays the Animal Liberation Front; Anarchist from Colony tells the story of Park Yeol and Fumiko Kaneko, two anarchist nihilists who have become national heroes in Korea; A Taxi Driver dramatizes the Gwanju uprising of 1980. Why are anarchists suddenly appearing in Korean cinema? What’s the context behind these films? And how can they inform how we frame our own narratives in a time of resurgent nationalism and unrest?