Might is Right is a book of action and not belief. It is poetry, not a platform. Since the first edition in 1896, Might is Right has inspired those across a dynamic political and philosophical spectrum. The consistent core of the work is this: the individual is against everything but the self, and any means of proliferation of the self is the only good. Might is the power of the individual, and that is the only foundation of Right.

Published in 1896, Might is Right went through five editions during the lifetime of Ragnar Redbeard, who had just moved to America, escaping the law in Australia. Every one of these had a plethora of revisions and reversions, many subtly coloring the meaning of the text, others leaving literal gaps on the printed page where type was physically removed from the printing plates.

Now Might is Right: The Authoritative Edition not only reveals one authoritative text, but adds thousands of citations and notations to reveal a much greater story underneath the text. Every literary reference is cited, every name is given biographical sketch. Redbeard's voice is given echo in some of the contemporary and historical figures that his ideas of an amoral philosophical egoism are in accord with.

Featuring a new introduction by Peter H. Gilmore, High Priest of the Church of Satan.

Sacred Harp singing is a uniquely American synthesis: religion and release, the loud sound of olden times and the joy in the ever-present now, traditional practices that hold together hundreds of raw, raucous human voices. It's sometimes asked, Why does the Devil get all the best music? In this case, God (or as author Th. Metzger claims - the gods) gave to America a wild gift.

Birthed before the U.S. was a nation, ebbing and swelling across the centuries, Sacred Harp singing is not just a collection of old hymns, but a vibrant social phenomenon, drawing in singers from far beyond the church. Driven into rural backwaters, where it hung on during its lean decades, in the twenty-first century, it is experiencing a renaissance, after northerners ventured to get the taste and feel, not just the sound, that has survived in pockets in the Deep South. Free and democratic, this is music for amateurs in the truest sense, that is, for those compelled by love, rather than a desire for money or accolades. Underneath the thin veneer of piety, singers - both old and new - feel a powerful, insistent, heartbeat.

Strong Songs of the Dead is the tale of a journey, not a mere travelog, but venturing back into ancestral time, to that place called by some That Old Weird America. Th. Metzger goes in with eyes and ears wide open. And he goes deep, in more than one case singing in the heart of the earth, as though to discover the secret subterranean well-springs of the sound. The living and the dead, the lost and the found, strangers and dear friends, join him on this journey.

A current of darkness runs through Sacred Harp singing; and neither does Strong Songs of the Dead shy away from grief, loss, and longing. Like the songs at the heart of the story, the chapters of Metzger's memoir are short, plentiful, and unrestrained, yet they all lead to themes of heartfelt living and holy dying. There is tragedy here, but through all that pulses a passionate vitality, an irrepressible cry for life.

HERE IS A MAN WHO WOULD NOT TAKE IT. We have forgotten about Everett True, a man who attended with prejudice to those most deserving-the daily pests. Sure, superheroes may have stopped crimes and Popeye may have known his share of dust-ups. But what about the million annoying twerps who don't break the law, but instead stomp on the social contract? When do they get theirs? Everett had no superpowers nor can of spinach, just a keen sense of human nature and the will to reward it but good. Everett True wished to live a simple life. He wished to go about his day without being unnecessarily bothered. His success then was not far from your own today. From loud-mouths in the theater to the overly pushy salesman, from the incessantly bothersome co-worker to the sidewalk hoggers, there's always some do-gooder who needs done in. You and I might take it on the chin, but Everett gives it on the noggin with interest. Outbursts of Everett True rarely strays from a natural formula: the pest impinges on Everett, Everett clobbers the pest. Far from repetitive, the rhythm reveals the timeless truth that the line between justice and revenge is a phantom's dream. Away with pity for the braggart, the inconsiderate, the assuming, the imposing, the blowhards, those cruel to animals and all the other pushy clods who would turn a perfectly pleasant day into a trial. Here are the best and brassiest Outbursts of Everett True. Many are reprinted for the first time since they were created by A. D. Condo and J. W. Raper, beginning in 1905. Outbursts of Everett True also packs the one-two punch of rare bibliographical information about the creators. Let Trevor Blake reintroduce our hero to a world ever more crowded with louts. Here is a man who stood up.

For nearly two hundred pages phrase after phrase descends like a club, bent upon smashing to flinders the church and state at which it is aimed. -Liberty, October 1933

Might is Right is a frank and brutal look at the world we live in. There is no comfort to be found within its pages, but there is truth. Instead of faith and idealism, Might is Right offers only one solution to the troubles that plague human society: MIGHT is the power of the individual, and that is the only foundation of RIGHT!

Originally published in 1896, Might is Right inspired a wide array of social and political movements. From radical socialists to Satanists, egoists to anarchists, and every flavor of freethinker in-between, Might is Right has left an indelible mark on the very society it condemns. Banned by booksellers and condemned by censors, Might is Right is one of the most infamous and dangerous books ever written.

Tiffany Thayer, the founder of the Fortean Society, referred to Ragnar Redbeard as, The Nietzsche of Chicago, the Max Stirner of Evanston. Whether Arthur Desmond-the man behind the mask-lived up to those comparisons is a matter of debate, as his life's story is still revealing itself more than a century later. What we can say for certain, is that the brutal nature of Ragnar Redbeard's magnum opus will inspire and disgust anyone who dares read it.

Featuring a brief introduction by Kevin I. Slaughter, this Underworld Amusements paperback is a full facsimile of the 1927 edition of Might is Right by Ragnar Redbeard, originally published by Dil Pickle Press of Chicago. It was the last edition of the book published during the author's lifetime, and its printing was overseen by the man himself. At long last we can once again read Might is Right exactly as Ragnar Redbeard intended it to be read, in all its pure, unadulterated fury.

Crucial is to create the impression that, although the people have been exploited in the past, today the wealthy are at the mercy of an all-powerful government which is firmly in the hands of the people or do-gooding liberals. -The Occult Technology of Power
This is the programme of the .01 percent First surfacing in 1974 from underground sources, The Occult Technology of Power is a blueprint distilling the esoteric doctrines and technics of the global elite. These initiatory lessons from a cadre of technocrats is now available with a never before collected appendix of revelatory information. The publisher assumes no responsibility for those who use this book to expose those in control-or to join them.
A little gem of protocol which displays acute perception. A Satanic overview. -Anton Szandor LaVey, Cloven Hoof, Nov./Dec. 1974
Written as if it were a set of lectures by the central philosophers of a master conspiracy. Their personal viewpoint is rational egoism, but they want to keep the wisdom of this perspective secret-since it is impossible to exploit a person who maintains a self-conscious, self-interested frame of reference... This reviewer is very pleased with the discovery of a text we had at first avoided because of its title. The little book is very much worth its price. -Joe Cobb, Reason Magazine, May, 1976

George H. Smith once described The Myth of Natural Rights as a scathing, all-out attack. This was not hyperbole. First published in 1983 by Loompanics Unlimited, L.A. Rollins' incisive monograph sought not merely to dethrone the doctrine of natural law that had come to dominate libertarian discourse, but to upend the very foundations of moral philosophy. Describing himself as an amoralist and an egoist of sorts, Rollins echoed Stirner alone in his insouciant refusal to genuflect before the pieties of intellectual fashion.

While few readers would embrace Rollins' intractable moral skepticism, his short book struck a powerful chord. As the text was discussed in marginal periodicals, it gathered an almost scandalous aura, eliciting both approbation and excoriation for its lacerating critique of natural rights theory--particularly as exposited by such libertarian luminaries as Murray Rothbard, Tibor Machan and Ayn Rand.

In 1985, The Myth of Natural Rights would become a central exhibit in a spirited debate that spanned several issues of Samuel Edward Konkin III's New Libertarian magazine. The forum included contributions by Robert LeFevre, Murray Rothbard, Sidney E. Parker and Robert Anton Wilson, along with a reply by L.A. Rollins himself. Although Rollins' engagement with the libertarian cognoscenti would soon come to an end, the dam had broken.

This definitive reissue features a new publishers preface and has been supplemented to include all of the relevant essays that originally appeared in New Libertarian, along with extant commentaries and rejoinders by L.A. Rollins.

Is it possible that the famous duel between Hamilton and Burr was part of a judgment against the two by a secret society they formed decades prior to create an American shadow government? This story, telling of the lives of two great rivals, lies somewhere between a Robert E. Howard pastiche and a Yankee version of Thomas Dixon Jr. Rival Caesars is a fantasy Revolutionary War tale by the man who penned the infamous philippic titled Might is Right.

Arthur Desmond, who wrote as Ragnar Redbeard, here uses the nom de guerre Desmond Dilg. Might is Right ends thus: P.S. Book II will be issued when circumstances demand it. The 1903 novel Rival Caesars is that book.

Preceding his time as one of the earliest proponents of an American Nietzscheanism, Desmond was an Antipodean radical, fighting in the streets alongside anarcho-communists and trade unionists. He stood for election as a labor candidate and promoted Georgism to both Māori and Europeans in New Zealand and Australia. Fleeing the law, he settled in America among the Chicago bohemian scene, and his radicalism turned from collective rights to individualist might.

While Might is Right was intended as an awakening call for mighty men of valor, Rival Caesars is the plan of action, plotted out under the guise of a historical romance. This novel is nothing short of a rallying cry to an American Caesar to claim their share of pelf, prominence, and prestige in the vein of Napoleon or Cecil Rhodes.

Incredibly rare for nearly a century, here, finally, is an accessible and beautifully designed paperback edition, with an authoritative introductory essay by Darrell W. Conder. While it will never be as infamous as its predecessor, Rival Caesars is the ultimate book by the man known as Ragnar Redbeard.

Inspired by Ambrose Bierce's The Devil's Dictionary, L.A. Rollins first unsheathed his lexicographer's lance in the pages of marginal political periodicals during the mid-1980s. At a time when Objectivist orthodoxy and Cold War political theater dominated libertarian discourse, Rollins' distinctive brand of irreverent irony stood out. He skewered shibboleths and dethroned dogmas from all quarters, and his trenchant jeu de mots made a lasting impression in the minds of many readers.
In 1987, Loompanics Unlimited released the first edition of Lucifer's Lexicon, a freewheeling compilation of Rollins' satirical definitions--including content deemed too inflammatory for less adventurous publishers. Though the book would become a cult classic, Rollins' contrarian take on certain closely guarded historical and religious taboos chafed the sensibilities of some gatekeepers. Following its release, Rollins--who had previously courted controversy for his incisive critique of natural rights theory--was marked a pariah.
The present edition is the first in a series of portable paperbacks being published by Nine-Banded Books and Underworld Amusements to chronicle the work of L.A. Rollins. With slight revision, it incorporates the canonical Loompanics text, now extensively supplemented to include never-before-published material that Rollins produced until his death in 2015. It is presented with a new introduction by individualist-anarchist blogger and Attack the System co-editor MRDA and a publisher's preface.

The radical transformation of life, the great metamorphosis I aspired to, could not be realized in reality because the crowds were gregarious, they could not exist without a shepherd, and they would not send him away except to put themselves under the tutelage of another. I should no longer hope for the social Muspell from whose flames the heroic youth of the unique one would be born, but rather consider anarchy as the eternal revolt of the irreducible individual against all societies that succeed in history. I had to understand that the Promethean exception is destined to fight not only the states and the authorities but also the conservative instinct of the crowds lying in a millennium-old habit of laziness. I had to-in the extreme resolution of my tragic despair-accept this eternal struggle of the reprobate against everyone and become intoxicated with the nepenthe that drips from its bosom.

-from The Red Sect

During the early 1970s a 'revival' took place of the philosophy of Max Stirner, born Johann Caspar Schmidt (1806-1856), whose book Der Einzige und Sein Eigentum has been called a 'revolutionary anarchist manual', a 'Banker's Bible', a 'structural model of petit-bourgeois self-consciousness' and other names since its appearance in 1844.The revival produced the most comprehensive study of Stirner in English to that date, R. W. K. Paterson's 1971 The Nihilistic Egoist: Max Stirner. While Paterson undertook to review Der Einzige as substantive philosophical discourse, paradoxically, and theologically, he would conclude that Stirner was doing metaphysics, to the point of a solipsistic frivolity.This study examines the fascinating but ultimately unsuccessful, if not buffoonish, case against Stirner by Paterson. I conclude that we should rethink Stirner not as metaphysician but as social critic and educator, a root, ground-level or primal thinker, more relevant today than ever. And that his ideas and principles are ready to be spread and put to work now in criticism, current events and art.In this revision my purpose is to de-trivialize Stirner, tweak the paradigm further and introduce new material, with a view to reviving Saint Max where he belongs - in the company of heretics such as Chamfort, Nietzsche, Mark Twain, Ambrose Bierce, George Orwell, Joseph Heller and George Carlin, to name a few.

Lachmann's essay Protagoras. Nietzsche. Stirner. traces the development of relativist thinking as exemplified in the three philosophers of its title. Protagoras is the originator of relativism with his dictum Man (the individual) is the measure of all things. This in turn is taken up by Stirner and Nietzsche. Of the two, however, Stirner is by far the most consistent and for this reason Lachmann places him after Nietzsche in his account. For him Stirner surpasses Nietzsche by bringing Protagorean relativism to its logical conclusion in conscious egoism-the fulfilment of one's own will.
In fact, he views Nietzsche as markedly inferior to Stirner both in respect to his style and the clarity of his thinking. In contrast to Nietzsche's work, he writes, The Ego And Its Own is written in a clear, precise form and language, though it avoids the pitfalls of a dry academic style. Its sharpness, clarity and passion make the book truly shattering and overwhelming. Unlike Nietzsche's, Stirner's philosophy does not lead to the replacement of one religious spook by another, the substitution of the Superman for the Christian God. On the contrary, it makes the individual's interests the centre of the world.
Intelligent, lucid and well-conceived, Lachmann's essay throws new light on Stirner's ideas.

Best known as an underground satirist (Lucifer's Lexicon) and as an irreverent critic of bien-pensant libertarianism (The Myth of Natural Rights), L.A. Rollins [1948 - 2015] was also an unruly exponent of historical revisionism who courted reprisal for his skeptical interrogations of canonical World War II and Holocaust historiography.

Drawn from a variety of marginal sources dating from the mid-1980s, the essays and book reviews in Outlaw History provide contemporary readers with a time-capsule showcase of Rollins' scathing and scrupulous approach to dissident history-both as a practitioner of revisionism and, inevitably, as a skeptic of revisionist dogma. If the texts are as problematic now as when they were written, they also offer insight into a mode of unfettered freethinking that has since been expunged from intellectual discourse. To invoke a popular expression, Rollins went there. And he didn't care.

Outlaw History is the third volume in the The Portable L.A. Rollins pocket paperback series co-published by Nine-Banded Books and Underworld Amusements. It features an introduction by the erudite revisionist and conspiracy researcher Michael A. Hoffman II and a prolegomenon by Chip Smith of Nine-Banded Books.

The history of the German editions of Stirner's Der Einzige und sein Eigentum (The Ego and His Own) is by no means a dull subject. It is characterized by the fact that the two main initiators of the so-called Stirner renaissances were surprisingly staunch opponents of Stirner. Paul Lauterbach, the editor of the Reclam editions from 1892 onwards, was an enthusiastic follower of Nietzsche, and Hans G. Helms, who edited the first (heavily abridged) edition of Der Einzige und sein Eigentum after 1945 in 1968, was a doctrinaire Marxist (like Ahlrich Meyer, who edited and annotated the unabridged Der Einzige und sein Eigentum, which has been published by Reclam since 1972). Of particular interest here are: 1) What motives did these men have to passionately advocate for the publication of a work they considered extremely dangerous, and each of which was almost forgotten? 2) How can their activism be sensibly interpreted as evading Stirner?

Stirner's Der Einzige und sein Eigentum, without becoming a bestseller, was not only a bookseller's success, but also -- if one understands success in the true sense as a hit or strike -- an intellectual hit, and here now in the full sense of the word, a secret one. Because since its first appearance, it caused intellectual upheavals both among its most important direct recipients (Feuerbach, Ruge, Engels, especially Marx) and among many of its later readers, upheavals that they carefully concealed from the public (and eventually, repressing, also from themselves).

German scholar Bernd A. Laska completed his sesquicentennial edition history of Der Einzige in 1994, and the Union of Egoists is pleased to present the first English translation of that work, making a fascinating history of the Unique book more acessible.

I wrote The Philosophy of Disenchantment, which is, I think, the gloomiest and worst book ever published. Out of sheer laziness, I then produced a history of atheism, The Anatomy of Negation, which has been honored by international dislike. Need I state that of all my children it is the one that I prefer? -Edgar Saltus
Returning to an estimate of Saltus, let us sum up by saying we have in him a temperament saturated with pessimism which expresses itself by the beautiful decoration of sinister themes. To see grandeurs in vast horrors is the last thing a commonplace person can do. Neither can commonplace persons accumulate effortlessly a legend about themselves. This Edgar Saltus has done... In The Philosophy of Disenchantment and The Anatomy of Negation he has written two compact readable and scholarly resumes of pessimism and of skepticism-perhaps the best handbooks ever published on these subjects -Broom, Vol. 2
The Philosophy of Disenchantment.
Mr. Saltus is a scientific pessimist, as witty, as bitter, as satirical, as interesting and as insolent to humanity in general as are his great teachers, Schopenhauer and Von Hartmann. there is a prodigious and prodigal display of genius in his work that is a history of antitheism from Kapila to Leconte de Lisle. -Worcester Spy
The Anatomy of Negation.
A whole library of pessimism compressed into one small volume by a writer whose understanding of the value of words amounts almost to genius. -Chicago Herald
The work is remarkable in every way and its originality and power will compel for it more than an ephemeral existence, for independently of the force with which it deals with its theme its literary merits are of a high order, and its reflections are those of a bold, brilliant and able thinker. -Boston Saturday Review

An ax murderer, two of the most brilliant scientific minds of the century, billions of dollars in profit, precedent-setting legal battles, secrets of life and death - all of these come together in the story of the first electric chair.

In Blood and Volts, Th. Metzger creates a unique synthesis of scholarship, storytelling, and cultural critique. Though it draws from a number of disparate fields-true crime, history of technology, conspiracy theory, criminal law-Blood and Volts presents a clear and compelling story: America struggling to define itself through scientific innovation.

At the dawn of the twentieth century, General Electric (using Edison's direct current) and Westinghouse (employing Tesla's groundbreaking alternating current) were locked in combat to determine which would dominate the electro-technical fate of the nation. Electricity was thought to be a highly ambiguous force: both godlike creative power and demonic destroyer of life. Metzger argues the electric chair was both harbinger and early pinnacle of modernity, the high altar of the rising cult of progress. In the popular imagination, Tesla and Edison were seen as nearly superhuman beings, and their struggle was not only for wealth and power, but to reshape the face of America.

This is a second, revised edition.

Egoism was the first journal explicitly based on Egoist ideas in the English language, and was published by individualist anarchists Georgia and Henry Replogle beginning in 1890. An advertisement from the period stated:

Its purpose is the improvement of social existence from the standpoint of intelligent self-interest. To gain recognition of the fact, and popularize the idea, that self-pleasure can be the only motive of any act; that any attempt to ignore it must as necessarily be disastrous to human happiness as an attempt to ignore any part of the order of nature. Thus developing a principle for a basis of action about which there can be no misunderstanding, and which will place every person squarely on the merit of his or her probable interests, divested of the opportunity to deceive through pretension, as under the dominance of altruistic idealism. From this basis Egoism will defend the individual against every phase of invasion, whether it be the exactions of political-authority-protected privilege or the decrees of superstition-influenced custom.

In the late 19th Century a pocket of America was ready for an expression of rugged individualism to transform into a more coherent worldview. The greatest articulation of that sprang from German philosopher Max Stirner's 1844 book Der Einzige und sein Eigenthum. This book serves foundation of Egoism, which is a philosophy of putting the self in the central concern, rather than gods, other men, mankind in the abstract. Though relatively unknown compared to other flag-bearers of free thinking individualism like Friedrich Nietzsche, Robert Ingersoll, Ayn Rand and others, the message of Stirner's book has had a critical impact on many writers and artists who were influential in Europe and America.
Stirner's great work (published in New York in 1907 as The Ego and His Own), while having no explicit connection to Anarchism, was championed early on by that milieu. First in Germany by John Henry Mackay, who saved Stirner from the dustbins, to writers and radicals in Russia, France, Spain and England.
Here in America, Egoism's first champions were Georgia and Henry P. Replogle, and British born James L. Walker (aka Tak Kak). Contemporaries with publishers Benjamin Tucker (Liberty), Moses Harman (Lucifer the Lightbearer), D. M. Bennett (Truth Seeker) and other radicals, the Replogle's are not as well known as their more prolific comrades.
The Egoism journal is most notable for first serializing Walker's The Philosophy of Egoism book, but it also contained writings from and about the anarchist and individualist discussion of the day. While Walker's book would later be reprinted as a single volume in 1905, issues of the journal itself became scarce and near impossible to access. The journal is important for historians of Anarchism, Individualism and Egoism; three ideas that overlap greatly, but often depart in fascinating ways.

Anyone interested in (individualist anarchism of 19th century) should welcome any chance to examine the outlets edited by figures with different sensibilities. So it's good to see Georgia and Henry Replogle's journal Egoism reprinted in a hefty new book, Egoism: The First Two Volumes, 1890-1892. In some ways (Benjamin R.) Tucker and the Replogles were peas in a pod: Each mixed the radical egoism of Max Stirner with the monetary schemes of Pierre-Joseph Proudhon. But there are differences here too, with Egoism putting a stronger stress on feminism and free love. -Jesse Walker, Reason Magazine

Fantasia Impromptu & FINIS constitute Benjamin DeCasseres' (1873-1945) most private writing, but even then, they were intended for publication and posterity. The first is a diary-like collection of notes and reminiscences began in December 1925. The latter was professed to be a summation of all my books, of my lifelong beliefs.
Fantasia Impromptu was released as a series of booklets, six in total, that constitute his intellectual, emotional and spiritual autobiography. They are filled with ruminations on daily life, aphorisms, esotericisms, and appeals to future readers. It is appropriately dedicated to: The Thinkers, Poets, Satirists, Individualists, Dare-Devils, Egoists, Satanists and Godolepts of Posterity.
FINIS is his final work, appropriately enough, and consists of three essays and a hymn, all previously unpublished. The one focus of all of these pieces is Oblivion. Though he states in his introduction is was not necessarily meant to be his last work, he died before it was published, and his wife Bio prepared an introduction and included a poem of dedication. FINIS was released as a booklet the year of his death and has never been reprinted before.

The titular phrase of this cartoon collection is the selfsame ejaculation of many denizens of social media who happen to scroll past one of the named artists digitized drawings. Possibly you yourself have seen these graphical hijinx and either recoiled in horror or exclaimed in hilarity. And now... for the first time ever, six dozen of these precious little monsters/gems have been collected in one place That's right, now you can get your grubby little mitts on a good old-fashioned book and allow grandma the same experience you had without signing her up for FaceSnap or whatever stupid website everyone is on now in the future when you're reading this.

Karl Marx and Max Stirner sought to overcome their mentor Georg Hegel in opposing ways, and by opposing each other. In Max Stirner Versus Karl Marx, Philip Breed Dematteis constructs an accessible while scholarly contrast to their conflicts.While this isn't the last word on such a far-reaching subject, it can serve as a strong first word for those new to the ideas of these great figures of the philosophical and political history of the West.