Patchwork Harmonies: Organizing Through Polyphonic Assemblage and Ancestral Wisdoms
Note: This essay began to take shape as I became increasingly involved in arts and culture organizing circles in Oakland and a discussion group based in New York, especially in the wake of the 47th President’s election and the rapid dismantling of norms, funding sources, and institutions in our field. Across these groups, a central question kept surfacing: how do we build coalitions across our differences—whether in artistic practice, theories of change, or priorities—when so much feels at stake? Here, I offer the framework of Tsing’s “polyphonic assemblage” as a kind of “home-building” technique, one that allows us to construct meaningful, resilient coalitions without sacrificing what makes each of us unique. I hope these reflections provide encouragement and practical insight.
Introduction
Organizing across the patchwork terrain of arts and culture groups—each with its own lineages, practices, urgencies, and identities—demands a radical reimagining of how we come together. In the face of authoritarianism, precarity, fragmentation, and the legacies of exclusion, the call is not for unity through erasure but for collective action built on deep listening, mutual respect, and the generative power of difference. The concept of the polyphonic assemblage, as articulated by Anna Lowenhaupt Tsing in The Mushroom at the End of the World, offers a vital framework for this work. Yet, to truly build coalitions capable of withstanding and transforming the crises of our time, we must also turn to the wisdoms of Indigenous, African, African American, and queer communities—as well as communities in parts of Asia and Latin America—wisdoms and traditions forged in the crucible of survival, resistance, and creativity across the globe.
This essay explores how disparate arts and culture groups can learn to organize with and through their differences, drawing on Tsing’s polyphonic assemblage, Deleuze and Guattari’s assemblage theory, and the radical relationality found in these diverse coalition-building traditions. The aim is not to prescribe a single method but to offer principles and practices that can help us co-compose worlds where many voices, histories, and futures are possible.
Polyphonic Assemblage: Listening for Many Worlds
In The Mushroom at the End of the World, Anna Tsing describes the matsutake mushroom’s ability to thrive in the ruins of capitalist landscapes. The matsutake does not grow alone; it emerges through complex, interdependent relationships with trees, soil, and a host of other organisms. Tsing calls this a polyphonic assemblage:
“Polyphony is music in which autonomous melodies intertwine... I was forced to pick out separate, simultaneous melodies and to listen for the moments of harmony and dissonance they created together. This kind of noticing is just what is needed to appreciate the multiple temporal rhythms and trajectories of the assemblage.”
For arts and culture groups, this is a call to embrace the full range of voices, practices, and temporalities present in any coalition. Rather than seeking to subsume difference under a single narrative or theory of change, polyphonic organizing listens for the interplay of autonomy and interdependence, harmony and friction.
Assemblage Theory: Becoming Together Without Erasure
Tsing’s polyphonic assemblage draws from Deleuze and Guattari’s assemblage theory. Assemblages are not fixed structures but dynamic gatherings of heterogeneous elements—people, objects, affects, and practices—coming together in contingent, ever-shifting ways. Assemblage theory resists hierarchy and closure; it is about becoming, not being.
For arts and culture organizing, this means:
Recognizing that no single group, discipline, or theory can contain the whole.
Allowing for “lines of flight”—creative ruptures and departures that open new possibilities.
Accepting that coalitions will always be in flux, shaped by processes of stabilization and transformation.
This approach is echoed in the lived experience of cultural organizing, where the most resilient and creative coalitions are those that remain open to change, contradiction, and the unpredictable rhythms of collective life.
Patchiness, Precarity, and the Realities of Coalition
Tsing’s concept of patchiness—the uneven, unpredictable conditions in which life emerges—mirrors the terrain of arts and culture organizing. Resources are distributed unevenly; histories of exclusion and marginalization shape who gets to speak and be heard. Precarity is not an exception but a condition of survival.
To organize in this context is to:
Value the specificities of each group, practice, and history.
Build coalitions not on the promise of stability, but on the capacity to adapt, respond, and hold difference.
See moments of friction and discomfort as sources of learning and transformation, not as failures to be smoothed over.
Indigenous Wisdoms: Relationality, Reciprocity, and the Commons
Indigenous communities around the world have long practiced forms of coalition and governance that center relationality, reciprocity, and collective stewardship of the commons. These principles offer crucial guidance for arts and culture organizing, and their articulation can be found in the works of Indigenous scholars and activists who have theorized these concepts from within their traditions.
Relationality: The interconnectedness of all beings—human and nonhuman, living and ancestral—is central to many Indigenous worldviews. This is eloquently expressed by Leanne Betasamosake Simpson (Michi Saagiig Nishnaabeg) in Dancing on Our Turtle’s Back (2011), where she describes relationality as a foundational ethic that requires tending to relationships and honoring responsibilities to all entities in the web of life. Similarly, Robin Wall Kimmerer (Potawatomi) in Braiding Sweetgrass (2013) emphasizes the reciprocal relationships between humans and the more-than-human world, urging a form of ecological kinship as a basis for collective action.
Reciprocity: Indigenous coalition-building is grounded in cycles of mutual aid and care rather than transactional exchange. This ethic is highlighted by Vine Deloria Jr. (Standing Rock Sioux) in God Is Red (1973), where he discusses reciprocity as a form of ongoing responsibility that sustains community and the environment. Leanne Betasamosake Simpson also foregrounds reciprocity as a political and spiritual practice essential to Indigenous resurgence and governance.
Consensus and Council: Many Indigenous governance systems employ consensus-based decision-making and council processes. This is explored by Taiaiake Alfred (Kahnawà:ke Mohawk) in Peace, Power, Righteousness (1999), where he describes traditional Haudenosaunee governance as a model of participatory democracy rooted in listening, patience, and collective responsibility. Gordon Christie’s work on Indigenous councils further illustrates how these processes prioritize relational accountability over majority rule.
The Commons: Indigenous stewardship of land, resources, and knowledge as collective commons challenges dominant individualistic paradigms. This is powerfully articulated by Winona LaDuke (Anishinaabe) in All Our Relations (1999), where she argues for Indigenous land-based sovereignty and collective responsibility as a form of resistance to capitalist enclosure. The concept of the commons is also explored by Elinor Ostrom (though not Indigenous herself), whose work on governing commons resonates with Indigenous practices of shared stewardship.
Incorporating these Indigenous wisdoms into arts and culture organizing means creating spaces where relationships come first, care is prioritized over efficiency, and coalition work is understood as ongoing, relational, and sacred.
African and African American Traditions: Survival, Solidarity, and Collective Imagination
African and African American communities have developed powerful models of coalition and collective survival in the face of systemic oppression, displacement, and violence. These traditions offer vital lessons for arts and culture organizing, as articulated by scholars, activists, and artists who have theorized the cultural and political practices that sustain community.
Ubuntu: The Southern African philosophy of ubuntu—“I am because we are”—centers the interdependence of all people. Philosopher Desmond Tutu elaborates on ubuntu in No Future Without Forgiveness (1999), describing it as an ethic of mutual care, reconciliation, and shared humanity that informs collective healing and coalition-building. Ubuntu insists that individual flourishing is inseparable from the well-being of the collective.
Call-and-Response: This dynamic, participatory form of communication and coalition-building is foundational in African and African American music, ritual, and organizing. Ethnomusicologist Eileen Southern discusses call-and-response as a dialogic practice in African American spirituals and work songs (The Music of Black Americans, 1997). Activist and scholar Angela Davis has highlighted how this form fosters collective energy and leadership circulation in movements.
Mutual Aid and Cooperative Economics: From the Black church to freedom schools to mutual aid societies, African American communities have built networks of care and resource-sharing outside dominant systems. Historian W.E.B. Du Bois in Black Reconstruction in America (1935) documents early Black cooperative economics and mutual aid as essential strategies of survival and resistance. Contemporary activists like Mariame Kaba further emphasize mutual aid as a radical practice of community care and abolition.
Cultural Synthesis and Innovation: Forced migrations and the legacies of slavery and segregation have led to rich traditions of cultural synthesis, creating new forms of expression and organizing. Literary critic Houston A. Baker Jr. in Modernism and the Harlem Renaissance (1987) explores how Black artists and intellectuals synthesized African, European, and American influences to forge new identities and political coalitions. This synthesis is also evident in the work of Alain Locke, whose The New Negro (1925) was foundational to the Harlem Renaissance’s cultural and political coalition-building.
Storytelling as Resistance: Oral tradition, poetry, song, and performance have been central to coalition-building by creating shared memory and vision. Scholar Saidiya Hartman in Lose Your Mother (2007) and Toni Morrison in her essays emphasize storytelling as a mode of reclaiming history and imagining futures beyond erasure. The work of Audre Lorde also underscores the power of narrative and poetry in building solidarity across difference.
Drawing on these African and African American traditions means centering interdependence, creativity, and the ongoing work of making and remaking community in the face of adversity.
Queer Polyphonic Assemblage
To speak of polyphonic assemblage without centering queer experience is to miss one of the most generative sites of multiplicity, resistance, and creative coalition. Queer lives, by necessity, have always been about building worlds across difference—worlds that refuse the tyranny of the single story, the straight line, or the fixed identity. In the language of Deleuze and Guattari, queerness is not a stable category but a continual process of becoming, a “rhizomatic” entanglement that resists hierarchy and closure.
Queer theory, as articulated by thinkers like Eve Kosofsky Sedgwick, José Esteban Muñoz, and Jack Halberstam, is itself an assemblage—a gathering of voices, texts, and practices that thrive in contradiction and flux. Chrysanthi Nigianni and Merl Storr, in their edited volume Deleuze and Queer Theory, describe this as “a multiplicity of voices,” an assemblage-book whose lack of linear coherence is not a flaw but a feature: a deliberate embrace of experimentation, play, and the risk of exposing oneself outside established lines. In this sense, queer assemblage is not about consensus or sameness, but about the generative friction that emerges when difference is allowed to resonate and collide.
The very structure of queer community is polyphonic: it is made up of shifting alliances, chosen families, subcultural kinships, and solidarities that often cut across race, class, gender, and ability. As Justin Torres’s Blackouts and other contemporary works demonstrate, queer literary and artistic assemblages operate by layering voices, temporalities, and desires, refusing to be pinned down to a single narrative or identity. This is echoed in the structure of queer activism, which often privileges horizontal organizing, mutual aid, and the creation of spaces where marginalized voices are not only included but centered.
Queer polyphonic assemblage is also a methodological intervention. As Jack Halberstam argues, queerness requires “a new vocabulary”—a refusal to be captured by majoritarian language or fixed categories. This is a politics of the unspeakable and the unrepresentable, a commitment to the “ontology of becoming” and to “rhizomatic relatedness” that opens up new futures, new ways of being together. José Esteban Muñoz’s vision of queer futurity, for example, insists on the value of the not-yet, the utopian horizon that animates queer world-making and coalition.
In practice, queer polyphonic assemblage shows up in the ways queer communities organize—through zines, drag houses, underground parties, mutual aid pods, and digital networks that cross borders and binaries. These are spaces where difference is not only tolerated but celebrated, where the cacophony of voices becomes a source of strength and creativity.
To build coalitions in the spirit of queer polyphonic assemblage is to welcome the unruly, the experimental, and the not-yet-known. It is to trust that, in the meeting of many voices, something new and necessary can emerge—a harmony that is always in motion, always becoming.
Polyphonic Assemblage Organizing in Argentina, Bolivia, and Mexico: The Green Wave and Abortion Rights
The struggle for abortion rights in Latin America is a vivid example of polyphonic assemblage organizing, where diverse feminist networks, grassroots activists, legal advocates, artists, and health professionals have come together across borders and strategies. The Marea Verde (“Green Wave”), which ignited in Argentina, is emblematic: collectives like Socorristas en Red and La Campaña Nacional por el Derecho al Aborto Legal, Seguro y Gratuito coordinated direct action, legal support, and public education, while artists such as Marta Dillon and the feminist writing collective Ni Una Menos used poetry, performance, and visual art to galvanize public sentiment and sustain momentum.
In Mexico, groups like Las Libres and Red Necesito Abortar pioneered accompaniment models, connecting women directly to abortion medication, legal guidance, and emotional support—often using encrypted digital platforms and clandestine networks to bypass restrictive laws. Meanwhile, organizations such as GIRE (Grupo de Información en Reproducción Elegida) have combined strategic litigation with public health advocacy, publishing research and pushing for policy change at both state and federal levels.
Annual gatherings like the Encuentro Nacional de Mujeres in Argentina and the Encuentro Feminista Latinoamericano y del Caribe have brought together tens of thousands of activists, including Indigenous and Afro-descendant feminists, LGBTQ+ groups like Mujeres Al Borde (Colombia), and artists such as María Galindo of Bolivia’s Mujeres Creando. These encounters foster cross-border solidarity, skill-sharing, and the creation of collective manifestos and protest art.
Even after legal victories—such as the 2020 legalization of abortion in Argentina and the 2021 Supreme Court decision decriminalizing abortion in Mexico—these networks remain active. They continue to provide on-the-ground support, monitor implementation, and mobilize against backlash, demonstrating that coalition work is ongoing, adaptive, and polyphonic, with each group, artist, and advocate contributing a distinct and indispensable voice.
Polyphonic Assemblage Organizing in South Korea, India, and the Philippines
Across Asia, polyphonic assemblage organizing takes vivid form in movements that bridge vast differences in language, religion, and political context. In South Korea, the #MeToo movement was catalyzed by figures like prosecutor Seo Ji-hyun and amplified by feminist collectives such as Femidangdang and the Korean Women’s Association United (KWAU). These groups collaborated with artists, writers, and digital activists—including the creators of the viral “Escape the Corset” campaign—to challenge workplace harassment and rigid gender norms through public testimony, protest art, and social media campaigns.
In India, the anti-caste movement has been energized by collectives like the Dalit Women Fight and the All India Dalit Mahila Adhikar Manch (AIDMAM), which organize intersectional campaigns against caste and gender violence. These efforts are supported by writers and activists such as Thenmozhi Soundararajan and Suraj Yengde, who use storytelling, art installations, and digital platforms to build solidarity across caste, gender, and region. The Naz Foundation has been pivotal in LGBTQ+ rights, leading the legal battle that resulted in the decriminalization of homosexuality in 2018, while collectives like Queerala in Kerala and The Humsafar Trust in Mumbai have fostered community through art exhibitions, pride marches, and health advocacy.
In the Philippines, the Gabriela Women’s Party and Bayanihan collectives have long organized at the intersection of gender, labor, and indigenous rights. Gabriela’s campaigns—often in partnership with theater troupes like PETA (Philippine Educational Theater Association) and visual artists such as Kiri Dalena—combine mass mobilization, street theater, mural-making, and digital storytelling to confront state violence and economic injustice. The Bayanihan spirit itself, invoked by countless grassroots mutual aid groups, exemplifies a polyphonic approach: neighbors, artists, faith leaders, and activists coordinate disaster relief, protest, and cultural celebration in ways that honor both local specificity and national solidarity.
These movements’ strength lies in their refusal to seek a single voice or leader. Instead, they thrive on the interplay of many—student groups, labor unions, feminist organizations, queer collectives, artists, and grassroots activists—adapting strategies to local contexts while building solidarity across divides. Their stories, art, and organizing methods are testament to the generative power of polyphonic assemblage.
Radical Theories of Relation: Embracing Friction and Becoming
The ethics of organizing across difference is deepened by radical thinkers who refuse easy resolution:
Gloria Anzaldúa’s borderlands theory models coalition as a space of negotiation, hybridity, and transformation, where difference is not erased but held in creative tension.
Donna Haraway’s call to “stay with the trouble” urges us to remain present to complexity, contradiction, and the unfinished work of coalition.
José Esteban Muñoz’s queer futurity invites us to see coalition as an ongoing process oriented toward possibility and the not-yet.
These thinkers, like Tsing, challenge us to build coalitions that are open, adaptive, and capable of holding the full range of human experience.
Principles for Polyphonic Coalition-Building
Drawing from these frameworks and traditions, several principles emerge for organizing disparate arts and culture groups:
Embrace Patchiness: Value the unique histories, resources, and challenges each group brings. Avoid forcing uniformity; instead, cultivate a landscape where difference is a source of strength.
Practice Polyphonic Listening: Develop the capacity to hear multiple voices, especially when they conflict. Create spaces where autonomy and interdependence coexist.
Foster Lines of Flight: Encourage experimentation and risk-taking. Allow groups and individuals to break away, transform, and recombine in new ways.
Build With, Not For: Resist imposing a single theory of change or organizational model. Co-create structures that emerge from the specificities of the groups involved.
Stay With the Trouble: Accept that organizing involves friction and discomfort. See these as opportunities for growth rather than failures.
Value Vulnerability and Presence: Authentic connection arises when participants show up openly, willing to be changed by encounter.
Honor Relationality and Reciprocity: Prioritize relationships and mutual care over efficiency or output. Recognize that coalition is sustained by ongoing acts of reciprocity.
Center Collective Memory and Storytelling: Use storytelling to build shared memory, vision, and resilience. Make space for the histories and dreams each group carries.
Share Stewardship and Leadership: Rotate leadership, distribute responsibilities, and practice shared stewardship of resources and decisions.
Examples of Polyphony in Practice
The Menominee Wellness Initiative in Wisconsin centers Menominee language, cultural traditions, and collective values in coalition work, fostering holistic health and shared power among tribal, educational, and grassroots partners.
The Human Relations Commission-Mniluzahan Okolakiciyapi Ambassadors (HRC-MOA) in Rapid City, South Dakota, bridges Native and non-Native communities through cultural education, leadership training, and dialogue on discrimination, drawing from Lakota history and practices to build trust and participation.
The Rapid City Indian Boarding School Lands Project uses historical research and public memorialization to unite Native and non-Native residents around the legacy of residential schools, creating space for healing and collective advocacy.
Oaye Luta Okolakiciye in Rapid City centers Lakota spiritual ceremonies and mentorship programs to address social issues like substance abuse and reentry, grounding coalition efforts in traditional healing and community support.
The Aamjiwnaang Environment Committee in Sarnia, Ontario, led by Ron Plain, builds coalitions among First Nations and environmental groups to address toxic pollution, foregrounding Indigenous environmental justice and collective rights.
Transnational Indigenous coalitions—such as those described in Struggle for the Land by Ward Churchill—mobilize around self-determination and land rights, often navigating tensions between Indigenous priorities and those of environmental NGOs, as seen in the Lubicon Cree’s resistance to Daishowa’s logging plans.
The Black Panther Party’s Survival Programs, as chronicled in Alondra Nelson’s Body and Soul: The Black Panther Party and the Fight Against Medical Discrimination, built coalitions across Black communities using health clinics, free breakfast programs, and arts initiatives to address systemic inequality and foster collective empowerment.
The Harlem Renaissance exemplifies coalition through cultural synthesis, as described in Alain Locke’s The New Negro, where writers, artists, musicians, and activists collaboratively redefined Black identity and built networks of mutual support.
The SNCC Freedom Singers, highlighted in works like Sing for Freedom: The Story of the Civil Rights Movement through Its Songs by Guy and Candie Carawan, used music as a tool for organizing, uniting activists and communities in the struggle for civil rights through collective performance and call-and-response traditions.
Ubuntu-based organizing in post-apartheid South Africa, as explored in Desmond Tutu’s No Future Without Forgiveness, centers the philosophy of “I am because we are,” fostering reconciliation and coalition-building through truth-telling, shared rituals, and community-led arts.
Conclusion: Composing Futures in the Ruins
The crises we face—climate catastrophe, racial violence, economic instability, attacks on bodily autonomy, and the ongoing struggle for justice—demand new forms of collective action that can hold complexity without collapsing into simplistic solutions. The polyphonic assemblage offers a way forward: a model of organizing that values difference, nurtures creative tension, and embraces the ongoing process of becoming together.
The examples of Argentina’s Marea Verde—driven by collectives like Socorristas en Red and Ni Una Menos—Mexico’s Las Libres and GIRE, South Korea’s #MeToo movement amplified by Femidangdang and the Korean Women’s Association United, India’s Dalit Women Fight, Naz Foundation, and Queerala, and the creative coalitions built by groups like Gabriela Women’s Party and PETA in the Philippines, all demonstrate that polyphonic assemblage is not just a theory but a living practice. These movements, with their artists, writers, and grassroots organizers, show how coalition adapts, survives, and thrives across borders, languages, and struggles—sustained by the interplay of many voices, each indispensable to the whole.
To organize across difference is not to seek unity through erasure, but to build coalitions capable of listening, adapting, and co-creating in the face of uncertainty. It is to honor the patchiness of our worlds, the wisdoms of our ancestors, and the possibility of futures not yet imagined.
If we can learn to organize as mushrooms do—finding life in the cracks, building alliances across difference, and listening for the many melodies of our shared world—we can begin to compose futures that are as rich, patchy, and hopeful as the world we inhabit. In this work, every voice matters, every history counts, and every act of coalition is a step toward the worlds we need and deserve.
References
Alfred, Taiaiake. Peace, Power, Righteousness: An Indigenous Manifesto. Oxford University Press, 1999.
Anzaldúa, Gloria. Borderlands/La Frontera: The New Mestiza. 4th ed. Aunt Lute Books, 2012.
Baker, Houston A., Jr. Modernism and the Harlem Renaissance. University of Chicago Press, 1987.
Carawan, Guy, and Candie Carawan. Sing for Freedom: The Story of the Civil Rights Movement through Its Songs. Sing Out Corporation, 1990.
Chaberski, Mateusz. “Counterfactuality as a Polyphonic Assemblage: Science Fiction, the Anthropocene, and the Baroque Cycle.” Sciendo. 2018, no. 10 (2018): 111–124.
Churchill, Ward. Struggle for the Land: Indigenous Resistance to Genocide, Ecocide and Expropriation in Contemporary North America. City Lights, 1993.
Christie, Gordon. “Indigenous Legal Orders, Canadian Law and the Constitution.” In Indigenous Peoples and the Law: Comparative and Critical Perspectives, edited by Benjamin J. Richardson, Shin Imai, and Kent McNeil, 208–234. Oxford: Hart Publishing, 2009.
Davis, Angela Y. Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday. Vintage Books, 1999.
DeLanda, Manuel. Assemblage Theory. Edinburgh: Edinburgh University Press, 2016.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi. University of Minnesota Press, 1987.
Deloria, Vine, Jr. God Is Red: A Native View of Religion. Fulcrum Publishing, 1973.
Du Bois, W. E. B. Black Reconstruction in America, 1860–1880. Free Press, 1998. Originally published 1935.
Gago, Verónica. Feminist International: How to Change Everything. Translated by Liz Mason-Deese. London: Verso, 2020.
Halberstam, Jack. In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York: NYU Press, 2005.
Haraway, Donna J. Staying with the Trouble: Making Kin in the Chthulucene. Duke University Press, 2016.
Hartman, Saidiya. Lose Your Mother: A Journey Along the Atlantic Slave Route. Farrar, Straus and Giroux, 2007.
Kaba, Mariame. We Do This ’Til We Free Us: Abolitionist Organizing and Transforming Justice. Haymarket Books, 2021.
Kim, Nadia Y. Imperial Citizens: Koreans and Race from Seoul to LA. Stanford: Stanford University Press, 2008.
Kimmerer, Robin Wall. Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants. Milkweed Editions, 2013.
LaDuke, Winona. All Our Relations: Native Struggles for Land and Life. South End Press, 1999.
Liu, Cathy J. Asian American Organizations: Identity, Participation, and Advocacy. New York: Routledge, 2011.
Locke, Alain, ed. The New Negro: An Interpretation. Albert and Charles Boni, 1925.
Lorde, Audre. Sister Outsider: Essays and Speeches. Crossing Press, 1984.
Morrison, Toni. "The Site of Memory." In Inventing the Truth: The Art and Craft of Memoir, edited by William Zinsser, 83–102. Boston: Houghton Mifflin, 1987.
Muñoz, José Esteban. Cruising Utopia: The Then and There of Queer Futurity. New York University Press, 2009.
Nelson, Alondra. Body and Soul: The Black Panther Party and the Fight Against Medical Discrimination. University of Minnesota Press, 2011.
Nigianni, Chrysanthi, and Merl Storr, eds. Deleuze and Queer Theory. Edinburgh: Edinburgh University Press, 2009.
Ostrom, Elinor. Governing the Commons: The Evolution of Institutions for Collective Action. Cambridge University Press, 1990.
Scolari, Massimo. Oblique Drawing: A History of Anti-Perspective. Cambridge: MIT Press, 2012.
Shah, Sonia. The Next Great Migration: The Beauty and Terror of Life on the Move. New York: Bloomsbury Publishing, 2020.
Simpson, Leanne Betasamosake. As We Have Always Done: Indigenous Freedom through Radical Resistance. University of Minnesota Press, 2017.
Simpson, Leanne Betasamosake. Dancing on Our Turtle’s Back: Stories of Nishnaabeg Re-Creation, Resurgence, and a New Emergence. Arbeiter Ring Publishing, 2011.
Simpson, Leanne Betasamosake. As We Have Always Done: Indigenous Freedom through Radical Resistance. University of Minnesota Press, 2017.
Solnit, Rebecca. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago: Haymarket Books, 2016.
Southern, Eileen. The Music of Black Americans: A History. 3rd ed. W. W. Norton & Company, 1997.
Torres, Justin. Blackouts. New York: Farrar, Straus and Giroux, 2023.
Tsing, Anna Lowenhaupt. The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins. Princeton University Press, 2015.
Tutu, Desmond. No Future Without Forgiveness. Doubleday, 1999.
Zaremberg, Gisela, and Emilene Martínez-Morales, eds. Abortion and Democracy: Contentious Body Politics in Argentina, Chile, and Uruguay. London: Routledge, 2023.
