Marx and Engels’ concept of the “lumpenproletariat,” or underclass (an anglicized, politically neutral term), appears in The Communist Manifesto and other writings. It refers to “the dangerous class, the social scum, that passively rotting mass thrown off by the lowest layers of old society,” whose lowly status made its residents potential tools of the capitalists against the working class. Surprisingly, no one has made a substantial study of the lumpenproletariat in Marxist thought until now. Clyde Barrow argues that recent discussions about the downward spiral of the American white working class (“its main problem is that it is not working”) have reactivated the concept of the lumpenproletariat, despite long held belief that it is a term so ill-defined as not to be theoretical. Using techniques from etymology, lexicology, and translation, Barrow brings analytical coherence to the concept of the lumpenproletariat, revealing it to be an inherent component of Marx and Engels’ analysis of the historical origins of capitalism. However, a proletariat that is destined to decay into an underclass may pose insurmountable obstacles to a theory of revolutionary agency in post-industrial capitalism. Barrow thus updates historical discussions of the lumpenproletariat in the context of contemporary American politics and suggests that all post-industrial capitalist societies now confront the choice between communism and dystopia.
 

In Marxism, the concept of the lumpenproletariat refers to the masses in rags, outsiders on the edge of society, drifters and criminals, of little or no use politically. But in Ragged Revolutionaries, Nathaniel Mills argues that the lumpenproletariat was central to an overlooked yet vibrant mode of African American Marxism formulated during the Great Depression by black writers on the Communist left.

By analyzing multiple published and unpublished works from the period, Mills shows how Richard Wright, Ralph Ellison, and Margaret Walker used the lumpenproletariat to imagine new forms of revolutionary knowledge and agency. In their writings, hobos riding the rails, criminals hustling to make ends meet, heroic black folk-outlaws, and individuals who fall out of the proletariat into the social margins all furnish material for thinking through resistance to the exploitations of capitalism, patriarchy, and Jim Crow. Ragged Revolutionaries introduces the lumpenproletariat into literary study, offers a new account of the place of Marxism in African American literature and politics, and clarifies the political and aesthetic commitments of three major modern black writers.