Seeking Status, Forging Refuge: U.S. War Resister Migrations to Canada

Often people migrate through interstitial zones and categories between state territories, policies, or designations like “immigrant” or “refugee.” Where there is no formal protection or legal status, people seek, forge, and find safe haven in other ways, by other means, and by necessity. In this article, I argue that U.S. war resisters to Canada forged safe haven through broadly based social movements. I develop this argument through examination of U.S. war-resister histories, focusing on two generations: U.S. citizens who came during the U.S.-led wars in Vietnam and, more recently, Afghanistan and Iraq. Resisters and activists forged refuge through alternative paths to protection, including the creation of shelter, the pursuit of time-space trajectories that carried people away from war and militarism, the formation of social movements across the Canada-U.S. border, and legal challenges to state policies and practices.

Käthe Kollwitz: Memorialization as Anti-Militarist Weapon

This essay explores Käthe Kollwitz’s antiwar graphic work in the context of the German, and later, international No More War movement from 1920 to 1925, where it played an important role in antimilitarist campaigns, exhibitions, and publications, both in Germany and internationally. Looking at Kollwitz’s production closely, we discover a deeply pragmatic artistic strategy, where the emotionality of Kollwitz’s famed prints was the result of tireless technical, formal, and compositional investigation, contrived to maximize emotional impact. By choosing the easily disseminated medium of printmaking as her main vehicle and using a deliberately spare but powerful graphic language in carefully chosen motifs, Kollwitz intended her art to reach as broad an audience as possible in engaging antiwar sentiment. In connection with the leading antiwar voices of the time, including French Nobel Prize-winning writer Romain Rolland and the founder of War Resisters’ International, Helene Stöcker, she deployed her work to reach beyond the confines of the art gallery, into internationally distributed posters, periodicals, and books.