Against kitsch criticism

Not to be elit­ist or de­lib­er­ately “high brow,” but I feel like the ana­lys­is of pop cul­ture phe­nom­ena has more than run its course in left­ist circles. Or rather, be­ing op­tim­ist­ic, it’s be­come in­creas­ingly dif­fi­cult to sep­ar­ate the wheat from the chaff, to sift genu­ine in­sights from a sea of banal­it­ies. Per­haps the real cri­terion is time, see­ing wheth­er or not a giv­en work or series stands up to re­valu­ation after a few years. At least then, once philo­sophy’s painted its gray on gray, there’s some sense of bal­ance and per­spect­ive. Did movie x or y truly cap­ture something of the cul­tur­al Zeit­geist? Is it still rel­ev­ant today? Hence the more qual­ity re­flec­tions tend to ar­rive only after the fact, like Agata Pyzik’s “Mauer Dream­story” (on An­drzej Å»uÅ‚awski’s 1981 film Pos­ses­sion) or Fre­dric Jameson’s “Real­ism and Uto­pia in The Wire (on the hit show by Dav­id Si­mon).

Writers for The New In­quiry and even Jac­obin would do well to re­vis­it an old es­say by Har­old Rosen­berg on “kitsch cri­ti­cism,” which ex­am­ines that odd situ­ation where a piece of writ­ing or com­ment­ary comes to re­semble the ob­ject it sup­posedly cri­tiques: dull, eph­em­er­al, and ul­ti­mately for­get­table. Ori­gin­ally pub­lished in Dis­sent back in 1958, and later re­pub­lished in Rosen­berg’s in­flu­en­tial col­lec­tion The Tra­di­tion of the New, it ob­serves that

[o]ne of the grot­esquer­ies of present-day Amer­ic­an life is the amount of reas­on­ing that goes in­to dis­play­ing the wis­dom secreted in bad movies while prov­ing that mod­ern art is mean­ing­less. Yet it is noth­ing else than the in­tel­lec­tu­al­iz­a­tion of kitsch.

Un­like his con­tem­por­ary, Clem­ent Green­berg, who would prob­ably agree with him that end­less in­quir­ies in­to mass cul­ture are a waste of time, Rosen­berg did not think that kitsch could be elim­in­ated by simply cham­pi­on­ing mod­ern art. “There is no coun­ter­concept to kitsch,” he main­tained. “Its ant­ag­on­ist is not an idea but real­ity. To do away with kitsch it is ne­ces­sary to change the land­scape, as it was ne­ces­sary to change the land­scape of Sardin­ia in or­der to get rid of the mal­ari­al mos­quito.” Neither by del­ic­ate de­mys­ti­fic­a­tion nor po­lem­ic­al an­ni­hil­a­tion can kitsch be re­moved.

So please, lay off the art­icles al­tern­ately de­clar­ing “Death to the Gamer” or stand­ing “In De­fense of Gamers,” or dreck about how Break­ing Bad is some­how ra­cist or the black fam­ily sit­com is in ter­min­al de­cline. Lana Del Rey is cool, and I even like some of her songs, but ded­ic­at­ing a whole is­sue of a magazine to the Kul­turkritik of her latest al­bum just seems to me like the­or­et­ic­al overkill.

I say this as someone who ap­pre­ci­ates many of the clas­sic stud­ies of film, tele­vi­sion, and mass me­dia con­duc­ted by Ben­jamin, Ad­orno, Barthes, and oc­ca­sion­ally some even today. For their sake, if not for mine, knock it off.

Just a brief up­date, Decem­ber 2016: For whatever reas­on, the amount of “cri­ti­cism” writ­ten in this vein has only in­creased. Sam Kriss is a very tal­en­ted writer, of­ten an in­sight­ful crit­ic. But his calls to “smash the force” (i.e., “[the latest Star Wars is] not just in­fant­ile bour­geois ul­traleft­ism; it’s Blan­quism in space”) and “res­ist Pokémon Go” (i.e., “this form [of game] de­mands a par­tic­u­lar type of en­gage­ment, that of a vi­cious, sticky-fingered child”) fall flat. Kriss has done pop cul­tur­al cri­tique quite well in the past, one need only look at his bril­liant sen­dup of Hildebeast in “Just Plain Nasty” for proof of this fact. If you’re look­ing for a funny and un­ex­pec­tedly com­pel­ling in­ter­pret­a­tion of Star Wars, check out “The Rad­ic­al­iz­a­tion of Luke Sky­walk­er: One Jedi’s Path to Ji­had” in­stead.

The artist at work

Robin Treadwell
Platypus Review
February 1, 2014
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Book review:

Ben Davis, 9.5 Theses on Art and Class
Chicago: Haymarket Books, 2013

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On a May night in 2012, Sotheby’s sold a version of Edvard Munch’s The Scream for 119.9 million dollars, setting a new record for the price paid for a single work of art. Meanwhile, union art handlers, locked out in a months-long dispute over a new contract, picketed the auction house along with Occupy Museums activists. While this sad little snapshot of art world disparity is not exactly new, the past few years have seen this type of excess thrown into sharp relief — against the background of the 2008 financial crisis and, to a lesser extent, the Occupy movement. Niche art blogs, art magazines, and more mainstream outlets are increasingly scandalized by the intersection of art and money, perhaps because it has become so glaring. For instance, last year Reuters’ finance blogger, Felix Salmon, wrote an outraged piece chiding a Citibank “research report” on the artist Gerhard Richter, complete with a graph tracking his auction prices and those of other blue-chip artists in comparison to the S&P 500.[1] In 2011, the New York Times published a lengthy expose of Ronald Lauder’s strategic donations of art to his own museum, the Neue Galerie, as a sophisticated tax evasion strategy.[2] Prominent art writer Jerry Saltz periodically chimes in on the subject, lately with complaints about the dominance and corrupting influence of “mega-galleries” such as Gagosian, a franchise with fourteen locations worldwide, calling them “too big not to fail.”[3] The legendary art critic Dave Hickey has opted out of the game altogether, preferring not to continue on as a member of the “courtier class”: “All we [art editors and critics] do is wander around the palace and advise very rich people. It’s not worth my time,” he told the Observer.[4] Additionally, museums and other art institutions host a seemingly endless series of public forums, talks and panel discussions with titles such as “Materials, Money & Crisis” and “Art Against Reification.”

Artists, too, have long voiced concerns. The artist Andrea Fraser has made a career of institutional critique; her inclusion in the 2012 Whitney Biennial may be a sign of this particular genre’s renewed cachet. The Biennial is traditionally viewed as an indicator of the art world’s general mood, and in 2012 this mood was introspective art-about-art. The New York Times’ Roberta Smith praised the show for its avoidance of “usual suspects and blue-chip galleries,” going on to write that it “separates art objects from the market and moves them closer to where they come from, artists.”[5] Fraser’s contribution, an incisive essay titled “There’s No Place Like Home,” argues that art discourse, her own brand of institutional critique included, has itself become co-opted; moreover, it often serves as a way to avoid actually dealing with issues in a meaningful way — critique as a form of inoculation.

Despite all the hand-wringing over the economics of the art world, one rarely finds class mentioned, much less Marxism. This despite the fact that art theory still employs the language of (Marxist) cultural theory via the Frankfurt school — as Andrea Fraser puts it in the above-mentioned essay, the “broad and often unquestioned claim” is that “art in some way critiques, negates, questions, challenges, confronts, contests, subverts, or transgresses norms, conventions, hierarchies, relations of power and domination, or other social structures.”[6] One gets the sense, however, that the contemporary art world considers itself much too (post-)postmodern and sophisticated to seriously give credence to anything as reductive as Marxism. Yet there is clearly a yearning, at least in some quarters, for a more systematic way of addressing the situation art finds itself in at present.

Lucas the Elder, Luther as Professor, (1529)

Lucas the Elder, Luther as Professor, (1529)

This is the somewhat fraught atmosphere into which Ben Davis’ new book of essays, 9.5 Theses on Art and Class, emerges. Davis, a self-identified Marxist and activist who was until recently the executive editor of Artinfo.com, wrote the title essay as a contribution to a show at Winkleman Gallery in Chelsea. The show, “#class,” was a response to yet another art world controversy, over a show at the New Museum devoted to the collection of a wealthy trustee, Dakis Joannou, and curated not by one of the museum’s staff, but by an art-star friend of Joannou, the much-loathed Jeff Koons. A numbered, cross-indexed series of declarative statements, which Davis originally taped to the gallery door a la Martin Luther, the essay stands out as the book’s boldest and most rigorous chapter:

Thesis 1.0: Class is an issue of fundamental importance for art.

1.1: Inasmuch as art is part of and not independent of society, and society is marked by class divisions, these will also affect the functioning and character of the sphere of the visual arts.

1.7: …a critique of the art market is not the same as a critique of class in the sphere of the visual arts. Class is more fundamental and determinate than the market. (27)

The essay’s central argument is that “the predominant character of this sphere [of the visual arts] is middle-class” (28). By this, Davis means that artists have a degree of authority over the conditions and, to some extent, products of their own work that wage-laborers, no matter how well-paid, do not; but that, unlike the ruling class, they are not “capital personified,” i.e., they pursue their work for more than simply profit. Continue reading

A Soviet homage to the Great French Revolution

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Happy Bastille Day, everyone. To celebrate, here are some assorted artworks by early Soviet sculptors and painters commemorating the Great French Revolution.

We begin with two pieces from the years immediately following the October Revolution. One of these, of course, is the sculptor Nikolai Andreev’s frightening Head of Danton (1919). Less well known are the memorials to M. Robespierre (1918 & 1920) by Beatrice Sandomirskaia [Беатрисе Сандомирская] and Sarra Lebedeva.

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Still more remarkable, though from a slightly later date, is the set of illustrations by the Bolshevik artist Mikhail Sokolov depicting the principal actors and main events of the last great bourgeois revolution. These were intended as part of a volume entitled Figures of the 1789 French Revolution (1930-1934), and are reproduced below alongside some of the historical representations on which Sokolov’s work was based.

Continue reading

A conversation on the Left

A moderated panel discussion 

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Image: Image by Augustine Kofie,
with text added by Ross Wolfe

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WHO

James Turley (CPGB)
Bhaskar Sunkara (Jacobin)
Ben Blumberg (Platypus)

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WHAT

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Recently, a series of exchanges between the Communist Party of Great Britain (PCC), the International Bolshevik Tendency, and the Platypus Affiliated Society has unfolded, mapping a field of positions and historical perspectives whose contours trace some of the most provocative contemporary perspectives on Marxism, socialism, and democracy.

With this public forum, speakers will take stock of the points of convergence and divergence that have emerged in order to push the conversation further on key issues such as Left unity, neo-Kautskyism, factionalism, Trotskyism, sectarianism, Leninism and Bolshevism, democratic organization, and political program.

WHEN

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April 18, 2013
7:00-9:00pm

WHERE

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NYU Kimmel Center, Room 904
60 Washington Square South
New York, New York 10012

WHY

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For the self-criticism, self-education, and, ultimately,
the practical reconstitution of a Marxian Left.

Against gravity

Benches, chairs, rocketships

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Image: Ilse Gropius sits in the “Kandinsky,”
a chair designed by Marcel Breuer (1927)
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James Kopf recently alerted my attention to an article by Emily Badger addressing “The Humble Public Bench,” on the redesign of a number of public benches in Boston. “Benches: the new chair?” he asked.  

The WA Chair by designer Katsuya Arai, Boston (2013)

“WA Chair,” by Katsuya Arai, Boston (2013)

What follows are a few thoughts in response to this question.

Above, one can see the benches mentioned in the article. The sleek, aerodynamic appearance of the benches Badger describes is something I’m oddly familiar with, having worked in an office building down at 1 State Street in Manhattan. Outside the entrance to South Ferry, the nearest Metro station, there are a number of benches working along the same modular lines, albeit in a slightly more distended, elongated form. Every time I’d exit the subway walking toward the grim black tower where our office was located, I’d pass them:

The benches at South Ferry in Manhattan

The benches at South Ferry

In either case, the author of the article briefly glosses the social and ideological role played by benches in the urban built environment. It’s a serviceable enough treatment, even if it slips into rather shallow moralizing toward the end:

The public bench has long been a mediator between cities and their citizens. A pleasant, functional park seat communicates to pedestrians that they’re welcome to linger, to treat public spaces like communal living rooms. Just as often, though, cities have been accused of deploying intentionally uncomfortable street furniture, angular benches with unnecessary guardrails dividing them to dissuade homeless loiterers and overnight guests. This second class of benches communicates something quite the opposite to residents: Move along, you’re not welcome here. Continue reading

The case for smashing borders

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IMAGE: Triumphus pacis Osnabruggensis et
Noribergensis
; Tubingen, Brunnius (1649)

J.A. Myerson has an article up over at Jacobin making “The Case for Open Borders.”  As an historical overview, it’s not terrible, even if the way it retains the language of “consecration” for the modern period is a bit tendentious.  Borders and rights are not “consecrated” as divine rights but “legitimated” as civil rights.  There’s some acknowledgement of this fact, at least initially, but the author goes on to undermine this distinction in advocating “universal human rights, consecrated in struggle, enforced by solidarity.”

On a related note — why does “solidarity” always seem to enter in as this kind of quasi-mystical force by which we can simply express our sympathy with various remote causes and thereby consider our political obligations fulfilled? This, far more than any kind of legal procedure defining and establishing borders, strikes me as almost religious.  It’s akin to the sentiment expressed by those of various religious persuasions who’ll reassure you that they’re praying for you, etc. Continue reading

Against what radicals?

A critical response to Aaron Bady’s
Lincoln review in Jacobin

Abraham Lincoln will take no step backward. His word has gone out over the country and the world, giving joy and gladness to the friends of freedom and progress wherever those words are read, and he will stand by them, and carry them out to the letter.

— Frederick Douglass, “Emancipation Proclaimed” (October 1862)

President Lincoln,

We congratulate the American people upon your re-election by a large majority. If resistance to the Slave Power was the reserved watchword of your first election, the triumphant war cry of your re-election is Death to Slavery.

From the commencement of the titanic American strife the workingmen of Europe felt instinctively that the star-spangled banner carried the destiny of their class. The contest for the territories which opened the dire epopee, was it not to decide whether the virgin soil of immense tracts should be wedded to the labor of the emigrant or prostituted by the tramp of the slave driver?

The workingmen of Europe feel sure that, as the American War of Independence initiated a new era of ascendancy for the middle class, so the American Antislavery War will do for the working classes. They consider it an earnest of the epoch to come that it fell to the lot of Abraham Lincoln, the single-minded son of the working class, to lead his country through the matchless struggle for the rescue of an enchained race and the reconstruction of a social world.

— Karl Marx, “Letter to Abraham Lincoln” (1865)

Marx did not, of course, consider Abraham Lincoln a communist; this did not, however, prevent Marx from entertaining the deepest sympathy for the struggle that Lincoln headed. The First International sent the Civil War president a message of greeting, and Lincoln in his answer greatly appreciated this moral support.

— Leon Trotskii, “Mexico and Imperialism” (1938)

Aaron Bady, a student at UC Berkeley, recently contributed a review of the Spielberg-Kushner blockbuster Lincoln to Jacobin‘s online blog. One of the sad consequences of hanging around people who work extensively on the history of the antebellum US, as well as the Civil War and Reconstruction periods, and the Marxist historiography thereof (the various accounts given it by Marx, Lenin, and the young Genovese, to name a few), is that I can’t help but roll my eyes at the pseudo-radicalism evinced by reviews like this.

They either distort facts about the history or rely on lazy New Left tropes about how it’s all just a plot to aggrandize whitey and reassert the gratitude of the oppressed to their former oppressors, who awoke one morning and beneficently decided to liberate them. It ultimately boils down to this dreary, cloying, and by now insufferable Alltagsgeschichte point about the need to write history “from below” as opposed to history “from above” — a false dichotomy if ever there was one. Even then, the article requires extremely tendentious readings of more serious historians like Eric Foner or Robin Blackburn to sustain it.

Communist Party USA meeting in Chicago, 1939: Even the Stalinists had better historical consciousness

Communist Party USA meeting in Chicago, 1939: Even the Stalinists had better historical consciousness

Despite the not insignificant role of newly-freed blacks serving in the Union military, as well as by slaves taking it upon themselves to cast off the yoke of their masters, general emancipation certainly would not have come about were it not for the bloody, protracted, armed struggle of Northern armies against the forces of the South. The collapse of the plantation system of slavery in the South was hardly inevitable; it cannot be chalked up to the struggle of the enthralled on the basis of any sort of “inherent” freedom or dignity that they had hitherto been denied. Bady does not deny wholesale the historical importance of such acts as the Emancipation Proclamation, but he does seem to suggest that their importance was purely rhetorical or symbolic (i.e., not political). When a Frenchman of Engels’ acquaintance sought to dismiss Lincoln’s address on these grounds, Marx’s reply was brief but devastating:

The fury with which the Southerners are greeting Lincoln’s acts is proof of the importance of these measures. Lincoln’s acts all have the appearance of inflexible, clause-ridden conditions communicated by a lawyer to his opposite number. This does not, however, impair their historical import and does, in actual fact, amuse me when, on the other hand, I consider the drapery in which your Frenchman enwraps the merest trifle.

New Leftism dies hard.

Critics like Bady would like to see a more “representative” sample set, which in the end amounts to nothing more than superficial pandering to ideas about political correctness that may be even more shallow, all accomplished through nauseatingly ostentatious displays of “diversity.” It’s the most disgusting, condescending tokenism dressed up as somehow vaguely radical. In reality, of course, it’s just the old, preening liberal commonplace about the way minorities are underrepresented in Hollywood.

If nothing else, this review provides still more proof that a movie (or work of art, or piece of music, or whatever) can be bad/boring and yet the reviews criticizing it can outdo it in their utter banality.

Alexander Hesler (Springfield, Illinois): Abraham Lincoln; Albumen print, 6.5 x 8.5 inches (1860)

But there’s a deeper political subtext at work in Brady’s review. It comes through in lines like these:

[G]etting the radicals in line is important in the political arena because it allows moderates like Lincoln or Obama to operate through consensus.

As Chris Cutrone has pointed out, Obama’s not a compromiser. Obama doesn’t even have principles to compromise. Nor is he a “moderate,” whatever that might mean today. To contrast:

1. Obama’s a right-wing politician who has to this point failed to implement his right-wing political agenda.
2. Lincoln was a moderate Abolitionist who succeeded in abolishing slavery. 

Yes, Reconstruction failed, and blacks in America were by no means in the clear. But Lincoln built his career in the aftermath of the Dred Scott decision, and was a firm abolitionist throughout. He was often a reluctant actor, and his hand was forced by History itself, but Marx and the First International in general (both socialists and anarchists) were absolutely right to celebrate him.

In terms of “getting the radicals in line,” who does Obama have to “get in line” who’s a radical? Nancy Pelosi? You think he gives a damn about the DSA or the other lite-lefty groups that groveled in support of him around the election? Lincoln had Thaddeus Stevens running the House of Representatives to deal with. Stevens’ radicalism and outright bellicosity would have scared even the most leftish Obamaites of today into reaction. The same goes with Frederick Douglass, who while not a member of government was a public intellectual figure whose standing far exceeds that of any US leftist of recent memory. And that’s to say nothing of Robert Gould Shaw, who led the black regiment portrayed in the film Glory in the charge on Battery Wagner (in which he perished), who was a fanatical supporter of Lincoln. There’s nothing even remotely equivalent for Obama.

Ultimately, viewing Obama as a “compromiser” who has to “get radicals in line” strikes me as the opinion of someone who actually thinks that Obama and the Dems are salvageable. The person who wrote this is simply vying for a place within the Democratic Party — i.e., as one of the so-called “radicals.” If Spielberg and Kushner (neither of whom I exactly like, for the record) wanted to make a misguided comparison of Obama to Lincoln, then the author of this review tacitly accepted this comparison — and tried to elevate himself to the rank of a “radical” opposition member within the President’s party. In other words: someone whose position carries real political weight, whose opinions Obama might actually have to take into consideration before starting his next war.

Memories of the future

After Krzhizhanovskii

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Image: Recent picture of
Dom Narkomfin (2011)

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Today it is well known that the future has become a thing of the past.

Gone are the days when humanity dreamt of a different tomorrow. All that remains of that hope is a distant memory. Indeed, most of what is hoped for these days is no more than some slightly modified version of the present, if not simply the return to a status quo ante — i.e., to a present that only recently became deceased. This is the utopia of normality, evinced by the drive to “get everything running back to normal” (back to the prosperity of the Clinton years, etc.). In this heroically banal vision of the world, all the upheaval and instability of the last few years must necessarily appear as just a fluke or bizarre aberration. A minor hiccup, that’s all. Once society gets itself back on track, the argument goes, it’ll be safe to resume the usual routine.

Those for whom the present of just a short time ago already seemed to be charting a disastrous course, however, are compelled to imagine a still more remote past: a past that humanity might someday revisit, after completing its long journey through the wilderness of modernity. Having lost its way some centuries back — around the start of the Industrial Revolution — this would signal an end to the hubristic conceit that society can ever achieve self-mastery. Humanity’s homecoming, in this model, is much like that of the prodigal son’s. Never again will it wander too far afield. From this time forward, it’ll stick to the straight and narrow.

Neither of these temporalities, whether oriented toward the present or the past, is entirely what it seems, however. How so?

For one thing, the present (at least, the present of the last two hundred or so years) is never fully present. It’s always getting ahead of itself, lunging headlong into the future, outstripping every prognosis and expectation. But no sooner has its velocity increased than it finds itself right back where it started. Just as swiftly as the present speeds itself up, it feels the ground beneath it begin to shift: a cyclolinear running in place, as it were. The ceaseless proliferation of the new now presents itself as the eternal return of the same old, same old. Novelty today has become quotidian, if not wholly antique. It should thus hardly come as a shock that Marxian theorists like Moishe Postone have described a peculiar treadmill effect that occurs under capitalism.[1] History of late may be going nowhere,[2] but it’s going nowhere faster.

The idea of a prelapsarian past, of the “good old days” before everything went wrong, proves just as problematic. Not by chance does the imagery used to depict this past recall biblical overtones. Make no mistake of it: this is Eden before the Fall, the paradise of a blinkered naïveté — those carefree days before humanity dared to taste the fruit of knowledge. Trying to locate the precise moment at which things took a turn for the worse is trickier than it looks, however. As suggested earlier, this past stands at a far greater remove from the present than the chain of presents that expired not too long ago.[3] Its reality recedes into the mists of prehistory. Continue reading

A critique of Asad Haider’s and Salar Mohandesi’s article for Jacobin, “Is there a future for socialism?”

Toussaint Louverture

The following is a brief critique of Asad Haider’s and Salar Mohandesi’s co-written article for Jacobin, “Is there a future for socialism?” The authors present a forceful argument, but in the final analysis I must take issue with many of their conclusions — not least of which is the relationship of “socialism” to “communism.”  Though it may seem superfluous, or even slightly disingenuous, to praise the authors I am about to criticize, I will preface my remarks by saying that I greatly enjoy many of the things they’ve published for their own publication, Viewpoint Magazine.  Especially excellent is Ben Lear’s review of Berardi’s After the Future, which appeared recently on their blog.  I thought the exchange on Lenin they hosted a few months back was also clarifying.  Salar’s historical analysis, “On the Black Bloc,” is also excellent.

All these gestures at diplomacy aside, however, I must take issue with the following historical characterization:

The Erfurt synthesis, which made some sense [questionable] in non-revolutionary situations like the one which gave birth to it, quickly proved ineffective when a new cycle of struggle took shape in the decade before the First World War. The party, failing to register this changed situation, stuck to the old line — it misunderstood the growing militancy of the rank and file because its institutional structure had so dangerously exacerbated the distance between an increasingly bureaucratized party apparatus and the everyday lives of workers. A socialist subculture had been the foundation of class solidarity, based on grassroots practices of self-reliance, ranging from cooperative shopping associations (also known as “potato clubs”) to horseplay on the shop floor. But the SPD leadership increasingly tried to measure up to respectable bourgeois standards, with patriarchal families, ‘high culture,’ and patriotism, which immediately set them against the militancy of migrant workers in the Ruhr mines, and the wildcat strikes of female textile workers. “Women don’t want to know about politics and organization,” said one male socialist. “They appreciate a May Day festival, with singing and speeches and dancing…but they don’t appreciate political and trade union meetings.”

Dovetailing on Pham Binh’s quite correct remarks regarding the problem of legality vs. illegality, I would like to reiterate that the problem with the German Social Democrats was not that they had “lost touch” with the party’s working-class membership and constituency. Contrary to widespread belief, there is nothing inherently revolutionary about the working class. Marx’s entire argument regarding the proletariat was that it is the only potentially revolutionary class in modern society. This is because of its status as the only actually “universal” class in modern society (an inversion from of Hegel’s argument about the bureaucracy being the only “universal” class). The proletariat, at a sociological and empirical level, is “universal” insofar as it is both constitutive of and constituted by capital through the wage-relationship. It is unclear to me, however, whether it is all forms of universalism that the authors reject, or only the selective universalism of colonial rule. Universal suffrage is, of course, a form of universalism. Presumably this kind of universalism would meet with their approval.

Of course, when Marx was writing Capital, proletarian labor — defined as participating in the production and circulation of commodities, as well as through sale of its own labor as a commodity — was still mostly unique to the most advanced capitalist countries of the West. Since that time, the relationship of wage-labor has only become further generalized, resulting in nearly global proletarianization, at least at an objective level. That is to say, at the level of individuals’ objective relationship to the means of production.  Perhaps the most important lesson of the twentieth century is that the political tendencies of a given social stratum are by no means guaranteed.  Haider and Mohandesi gesture at this in their rejection of inevitabilism, but this does not itself go beyond the inevitabilism they ascribe to the Bernsteinians and Kautskyites.  For whether or not a person is objectively (i.e., sociologically) a member of the working class, it cannot be assumed that subjectively (i.e., politically) the person has attained proletarian class-consciousness. “The proletariat is revolutionary or it is nothing,” Marx wrote in 1871. His statement should be read as follows: until the proletariat is revolutionary, it remains nothing.  It just remains unrealized potential.

Moreover, the various practices of working-class self-organization (“grassroots practices of self-reliance, ranging from cooperative shopping associations…to horseplay on the shop floor”) were not at all more militant than the party’s actual line. It wasn’t as if the cooperative networks signaled a great radicalism on the workers’ behalf. In fact, one of the greatest advocates of workers’ cooperatives was the archrevisionist Eduard Bernstein, (see his Preconditions of Socialism) while one of their greatest detractors was of the cooperatives was the revolutionary Rosa Luxemburg (see her classic Reform or Revolution). The idea that the everyday practices operated to radicalize the workers in the factories perhaps have some incidental truth, but in general this kind of assertion (when made categorically) belongs only to the most boring kinds of “history from below,” a dreary form of Alltagsgeschichte. The failure of the SPD was not that it had become too elitist or “bourgeois.” What happened was a flagrant betrayal of what had before been agreed upon and passed as a guiding principle for the world war that everyone saw was on the horizon: namely, the 1907 Lenin-Luxemburg amendment, in which it was agreed that in the event of widespread international conflict, International Social Democracy would come out in firm opposition, and try to exploit the situation to foment world revolution.

Likewise, in decade or so after World War I, there was a general rightward lurch within the German proletariat. This is difficult to explain if one maintains that the working class or the “oppressed” in general are innately revolutionary. As Wilhelm Reich asked in 1933, while still a Marxist working in Austria as a volunteer psychoanalyst, providing services to working class families,

What produced the mass-psychological soil on which an imperialistic ideology could grow and could be put into practice, in strict contradiction to the peace-loving mentality of a German population uninterested in foreign politics? The “betrayal of the leaders of the Second International” is no satisfactory answer. Why, one must ask, did millions of workers, with a liberal and anti-imperialistic attitude, let themselves be betrayed? Fear of the consequences of refusal to take up arms could be the motive [18] only in a small minority. If one had witnessed the mobilization of 1914, one knew that the working population showed diverse attitudes. There was a conscious rejection on the part of a minority; a peculiar submission to fate or an indolence; and violent enthusiasm not only in the middle classes but also in masses of industrial workers.

Reich insightfully observed that the political orientation of the working class is ambivalent: “The discovery of the fact that the working individual is neither unequivocally reactionary nor unequivocally revolutionary but in a conflict between reactionary and revolutionary tendencies, must of necessity lead to a practical program which opposes the reactionary psychological forces with revolutionary forces.” As he goes on the point out, the erroneous belief that workers are somehow inherently more militant and revolutionary seemed to be materially disproven by the widespread support of the German working class for Nazism.

The authors also issue a harsh indictment of the Enlightenment and of bourgeois revolutions in general:

Those who equate political liberation with the flowering of the bourgeois individual often say that the French Revolution represented the Enlightenment’s point of culmination. What they leave out is that it was also its point of explosion. The slaves of Haiti — who watched their newly enlightened French masters continue to lop off their limbs, bury them to the neck, and burn their families alive — quickly learned that there was little difference between a master who read Rousseau and one who didn’t. The Enlightenment was just slavery under another name. So on August 21, 1791, while the noble revolutionaries in Paris tried to find the most effective way to keep the slaves tied down to the plantations of their most profitable colony, the Haitian slaves forced their own counter-Enlightenment by emancipating themselves through revolution. Inspired by their Caribbean comrades, almost exactly one year later, the same Parisian masses who seized the Bastille and held the king hostage stormed the Tuileries Palace, declared a Republic, and exploded the continuum of history, imposing an entirely new calendar to mark the birth of a new world.

Likewise, I fail to see how you can claim that Enlightenment was just “slavery under a different name,” or your implication that the thought of figures like Rousseau made no difference in the colonial world. Wasn’t Toussaint the same man whose revolutionary spirit was nurtured on the writings of Rousseau, Raynal, and Diderot? CLR James himself wrote that “Toussaint’s failure was the failure of enlightenment, not of darkness” (The Black Jacobins, pg. 288). Wasn’t Robespierre a disciple of Rousseau himself? Furthermore, it is difficult to characterize the Haitian Revolution as anything other than a bourgeois-liberal revolution. There was no attempt to overcome capital as the dominant form of social existence, as the oppressive character of capital had still not yet obviated itself in history. The Haitian Revolution was animated by ideas of liberty and equality, by republican ideals, and fought for the rights of individuals. In other terms, the Haitians fought against the slaveholders and foreign powers that surrounded them in order to establish an autonomous Rechtsstaat, which was still at that time by far the most revolutionary form of governance.  (This despite Toussaint’s occasional overtures toward royalism, a sad blemish on an otherwise consummately revolutionary, and for the most part staunchly republican, career).

This is why we’re pleased to enter into an exchange with Jacobin, whose logo recalls that we live in the world made by Toussaint L’Ouverture and the Black Jacobins. The reverberations of their confrontation with the colonialist universalism of the so-called “bourgeois revolutions” would be felt throughout the 19th century — just as, in 1848, the Jacobinism of Blanqui would be challenged by the growth of working-class neighborhood clubs.

Here I think it would be appropriate to invert the authors’ use of scare quotes in the second sentence.  It is telling that today we hear talked of the “so-called” bourgeois revolutions, as if they were neither revolutionary nor bourgeois.  This is something that I elaborate upon in a forthcoming essay on the relation of liberalism to socialism, so I’ll leave this as more of an aside for now.

In the interview that Pam Nogales and I conducted with the Italian Marxist theorist Domenico Losurdo, we touched on the question of Toussaint, Haiti, and bourgeois revolution, if anyone’s interested.