Arranged from a partisan perspective in the era of the uprising, i hate war, but i hate our enemies even more is an unconventional textual object that uses d�tournement, collage, and experimental writing against reactionary liberalism, capitalism, and white supremacy. Critical theory, police propaganda, militant cinema, country songs, activist histories, and white reactionary protests are used as raw material to stage ideological juxtapositions. George Wallace speaks to Stokely Carmichael in Watts. Radio Raheem hears conservative country music through his boombox while telling the story of Love and Hate. Darren Wilson supporters share the stage with Al Sharpton. Peter Watkins' Communards sing La Marseillaise and Bill Withers sings Grandma's Hands in the same set. In these conjunctions, we find the reproduction of struggle and the potential for short-circuiting the reproduction of white supremacy. This book aims to enact a critical theory of the spectacle as it joins the practical movement of negation within society.

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