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The book, Ferguson states in the Introduction, is meant for student activists and non-activists alike. We Demand: The University and Student Protests: by Roderick A. Ferguson, Oakland, University of California Press, 2017, x + 122 pp., $18.95/£14.99 (paper) Ferguson likens minority communities to the Greek I demos i : "The communities that made up the demos of US minorities were heterogeneous, and the broadest forms of liberatory politics that emerged in that era attempted to make use of that heterogeneity.". [Extracted from the article]

In I Claude Steiner, Emotional Activist: The Life and Work of Claude Michel Steiner i , Keith Tudor and his coauthors have realized a vital and essential book for anyone who has been influenced by or is interested in the life and work of Claude Steiner. Claude Steiner, Emotional Activist: The Life and Work of Claude Michel Steiner: edited by Keith Tudor, London: Routledge, 2021, 284 pp., £29.99 (paper), £105.00 (hardcover), £29.99 (e-book), ISBN 9780367188818 (paperback), ISBN 9780367188801 (hardcover), ISBN 9780429198977 (e-book) Tudor quotes Steiner as saying, "If you take my theory seriously you have to, at the very least, attempt to deal with sexism, racism and crude capitalism" (Kohlhaas-Reith & Steiner, [2], p. 21, quoted on p. 242). [Extracted from the article]

"Written Out: The Silencing of Regina Gelana Twala" by Joel Cabrita is a biography that sheds light on the life and legacy of Regina Gelana Twala, a Zulu and liSwati intellectual and political activist. Despite being deliberately excluded from historical narratives, Gelana's story is brought to the forefront in this book, showcasing her accomplishments as a teacher, writer, and advocate for African women. The book explores Gelana's experiences of racism, incarceration, and interactions with other Africans, all within the context of apartheid and the challenges faced by African women. While the book has been praised for reintroducing Gelana to history, some critics argue that the author's use of racial categories may be problematic. Nevertheless, the book serves as an important resource for those interested in African history, gender studies, activism, and feminism. [Extracted from the article]

A review of the book "Drawn to Change the World: 16 Youth Climate Activists, 16 Artists," by Emma Reynolds, is presented.

Pedro Monaville's book, "Students of the World: Global 1968 and Decolonization in the Congo," explores the role of student activists in the political events of the 1960s in Congo/Zaire. The book highlights how these students, faced with the challenges of independence, the assassination of Patrice Lumumba, and the rise of Mobutu's regime, engaged in global politics and sought international affiliations to further their goals of decolonization. Monaville's research draws from archival materials and interviews with Congolese students, providing a comprehensive understanding of their experiences and perspectives. This book offers a valuable contribution to the study of African decolonization and the Cold War. [Extracted from the article]

"Activists are I creating knowledge i , not simply sharing experience", Hogan writes, but because scholars often do not acknowledge communities as knowledge creators, the experiences of activists with the academy are often "dismal" (215). The book's five case studies are a "mixtape" of youth activism from the 1980s to 2018, with numerous social movement lineages picked up and "spliced together" to establish a "remix culture" of American youth activism (12). [Extracted from the article]

The book, importantly, implicates historians' role in creating a limited archive; Dossett exposes the "hidden" history of radical Black theater that should have been visible all along. To conclude her work, Dossett turns her focus in chapter 5 to Harlem, which was considered the nucleus of the FTP's Negro Units. While theater practitioners in the 1930s debated the merits of social realist dramas, African American dramatists inserted Black realism into their works. [Extracted from the article]

If it is true that we are living through a "dark age" with respect to media, then it will be thanks to the heroic efforts of people like Marion Stokes that the future emerges with a clearer sense of the ways ordinary broadcast media shaped it. Sometimes as affirmation, sometimes as indictment, clips from that archive punctuate the narrative of Stokes' life as a recorder. The film leaves much room for other stories to be told about Stokes' life, her commitments, her thought and practice. [Extracted from the article]