A rather disheartening (if predictable) exchange between Corey Robin, Doug Henwood, and myself on Christopher Hitchens and the post-9/11 Left (from Facebook)

A younger Christopher Hitchens

A younger Christopher Hitchens

Ross Wolfe:

I think I tried posting this entire thing on your recent blog post on Hitchens, but here’s a link to the article by Spencer Leonard that I feel actually provides the most adequate leftist appraisal of Hitchens’ legacy.

Corey Robin:

Sorry, tried to read this a few weeks ago when someone posted it on Doug Henwood’s site.  Couldn’t make it past the second paragraph: so God-awfully written, filled with windy claims about “History,” and even windier claims about Hitchens’ role in either shattering the left or announcing the shattering of the left. Couldn’t tell from those two paragraphs whom the writer was more intoxicated with: Hitchens or himself.  I don’t know who this author is, but you might want to tell him: the one — and perhaps only — thing he should or could learn from Hitchens is how to write a clear, clean sentence.  That first sentence alone — it has more stops and starts, herks and jerks, than the 7 train on during rush hour on a bad day.  Don’t these people believe in editors?

Doug Henwood:

Adequate? Pure gasbaggery.

Corey Robin:

‎Ross Wolfe: If you do want to post this to the blog, that’s fine. Just post a link with perhaps a paragraph-long teaser. But please don’t post the whole thing; it takes up way too much space and makes it hard for people to figure out where things are in the comment-thread.

Ross Wolfe:

Corey: Sadly, you yourself succumb to the same shallow moralism that was Hitchens’ greatest weakness. To psychologize an author’s alleged shortcomings — whether it’s Hitchens or Spencer — as mere “narcissism” or simple “self-intoxication” is a glib, facile, and ultimately dishonest procedure. It’s all too easy to evade the real difficulties posed by a figure like Hitchens by attributing motives in this fashion.

If you’re able to make it past your objections to his writing style, Spencer aptly notes this moralistic tendency in Hitchens’ own writings (which is, oddly, replicated in your articles on him):

The insights Hitchens develops respecting the history of the Left with reference to Orwell are valuable and, in many instances, merit further elucidation. The difficulty arises in trying to address such matters in the moral terms on which Hitchens bases his analysis, as for instance when Hitchens attempts to characterize the European fascism of the 1930s and ’40s in terms of “arrogance,” “bullying,” “greed,” “wickedness,” and “stupidity” [WOM, 7]. Such moral and intellectual flaws have, after all, plagued humankind throughout its history, and for this reason they provide an inadequate basis for conceptualizing something so distinctly and exclusively modern as fascism.  Similarly, leftist politics, while it may be rooted at the individual level in a certain moral impulse, can never be guided by that impulse alone.  While Hitchens’ expressions of moral disapproval are in themselves unobjectionable and indeed often rhetorically powerful, they hardly suffice as categories of political analysis.

The most horrifying aspect of fascism is that it does not admit of explanation on the basis of mere moral faults.  As problematic as Arendt’s analysis of “the banality of evil” in her reflections on the Eichmann trial may have been, at least it was able to move beyond the shallow attribution of the Nazi’s “evil” to some underlying diabolism.  Certainly, a number of the members of the Nazi leadership were thuggish goons, and many of the guards at the concentration camps were confirmed sociopaths, but this by itself does not explain the industrialized murder of European Jews, gypsies, communists, homosexuals, and so on.

Similarly, to try and dismiss Hitchens’ arguments and apologia for the war by reducing them to mere symptoms of his own personal vanity is insufficient.  The more troublesome question is to ask why this former leftist, in siding with naked U.S. aggression and militarism against the undeniably despotic Ba’athist regime, eventually succumbed to the same “lesser-evilism” of which he had earlier accused supporters of Bill Clinton.

Sure, everyone knows Hitchens was an arrogant prick.  But is this fact alone enough to account for what later “led Hitchens to shill for the American warmongers,” as Spencer put it?

Corey Robin:

Wow, I should wade through all that heavy-breathing in order to find out that Hitchens’s insights are “valuable”? Yet limited b/c he thinks fascism is reducible to bullying and wickedness? Sorry, dude, you’re not making that piece any more enticing. Now, I recognize that the notion that politics is about more than easy moralism must seem like some kind of blinding insight to you, but for many of us, it’s just one of many and obvious rules of the road.  If we don’t apply it to the Case of Christopher Hitchens — in the way, say, Adorno applied it to his analysis of Beethoven or Lukács did when he discussed Walter Scott — it’s b/c we don’t see Hitchens as a symptom of world-historical importance.  He was, in the end, a symptom of himself, which is why I thought a brief blog post was sufficient to the topic at hand.

I will add, because you seem so interested in these questions of History, that there is a long history of liberal-ish/left-ish intellectuals, at moments of political retreat, taking precisely the route Hitchens did.  It actually goes back to the French Revolution — read up on the Girondins’ decision to declare war on Austro-Hungary — and is a fairly familiar story to anyone who knows that history.  So I guess if there’s a second reason I didn’t feel the need to get myself all worked up about the man’s trajectory, it’s because it’s such a tried and true path.  Again, not of interest to anyone interested in History, but fairly familiar to anyone who knows some history.

Ross Wolfe:

Gasbaggery, Doug? As you were someone who so astutely helped point out some of the most shallow and theatrical aspects of the anti-war “activistism” of the ’oughts, I find it surprising that you would not be more sympathetic to the angle Spencer’s article takes.  Because it by no means tries to mount a defense for Hitchens’ tasteless and one-sided apologia for U.S. military aggression, but rather tries to frame these as the products of his disillusionment with the same degenerate Left that you yourself described in “Action will be Taken.”

Whether Hitchens’ radical enlightenment opposition to “every form of tyranny over the mind of Man” — namely, religion and superstition — served simply to mask some form of deep-seated Islamophobia is a matter of interpretation.  In my personal opinion, nearly all religion at this point in history is hideously reactionary, sexist, and homophobic.  It is only able to survive as a severe anachronism.  Religion, along with all forms of occultism and superstition, should by all rights be eradicated from the earth, no matter where it originated — so that humanity can be free from ignorance and irrationality.

By shamelessly siding with the aggressor in the U.S.’ and the U.K.’s invasion of Iraq (along with the host of other countries in the “Coalition of the Willing,” who they’d bought), Hitchens fell beneath his own threshold of criticism. Both sides of the conflict were miserable and worthy of contempt.  But Lenin, who is so often mindlessly invoked when it comes to conversations of imperialism, was himself far more balanced when it came to such matters.  For example, from chapter five of his 1916 work, A Caricature of Marxism and Imperialist Economism:

Imperialism is as much our “mortal” enemy as is capitalism.  That is so.  No Marxist will forget, however, that capitalism is progressive compared with feudalism, and that imperialism is progressive compared with pre-monopoly capitalism.  Hence, it is not every struggle against imperialism that we should support.  We will not support a struggle of the reactionary classes against imperialism; we will not support an uprising of the reactionary classes against imperialism and capitalism.

Consequently, once the author admits the need to support an uprising of an oppressed nation (“actively resisting” suppression means supporting the uprising), [Kievskii] also admits that a national uprising is progressive, that the establishment of a separate and new state, of new frontiers, etc., resulting from a successful uprising, is progressive.

Or later, if Lenin didn’t make himself clear enough on this score here, he spelled it out even more explicitly in 1920 in his “Draft Theses on National and Colonial Questions”:

With regard to the more backward states and nations, in which feudal or patriarchal and patriarchal-peasant relations predominate, it is particularly important to bear in mind:

first, that all Communist parties must assist the bourgeois-democratic liberation movement in these countries, and that the duty of rendering the most active assistance rests primarily with the workers of the country the backward nation is colonially or financially dependent on;

second, the need for a struggle against the clergy and other influential reactionary and medieval elements in backward countries;

third, the need to combat Pan-Islamism and similar trends, which strive to combine the liberation movement against European and American imperialism with an attempt to strengthen the positions of the khans, landowners, mullahs, etc.

Ross Wolfe:

‎Corey: If you’re half as familiar with Adorno’s work as your casual aside would suggest, you’d know that Adorno’s critical engagements of contemporary figures were not limited to figures who represented “symptom[s] of world-historical importance.”  Hitchens was easily a more important public figure and thinker in the last couple decades than, say, the anti-Semitic radio preacher Martin Luther Thomas, to whom Adorno devoted more than a hundred pages of analysis, was in his day.

Hitchens was indeed symptomatic of the widespread tendency of former leftists to devolve into empty moralism and hawkish apologia for U.S. militarism. Of all the moralizing pro-war leftists who spoke out or signed the deplorable and misguided Euston Manifesto, Hitchens was easily the most visible. If not Hitchens, then indeed who would qualify as sufficiently emblematic or “symptomatic” of this tendency? Nick Cohen? “Harry Hatchet”?

Adorno, as you’ll no doubt recall, found some things of merit in the writings of the archconservative Oswald Spengler, and found plenty to criticize in the writings of ostensibly leftist figures like Bertolt Brecht or Thorstein Veblen [in Prisms].  Things are not so clear-cut as one would imagine.

Ross Wolfe:

Corey: Hitchens is easily a more interesting subject of analysis than someone so straightforwardly vacuous as Sarah Palin, a figure you deemed worthy of consideration for your study on “the reactionary mind” (even appearing on the cover of your book [The Reactionary Mind]). So I’m not really sure what you’re objecting to in Spencer’s book review.

Doug Henwood:

Yeah, gasbaggery.  I was sadder about Hitchens’ death than many on the left, but his apologetics for imperial war over the last decade of his life were revolting.  I found them tragic and depressing compared to his earlier work, which was part of the sadness.  But I don’t need to read any elaborate fantasies about how there was something radically progressive about his mancrush on Paul Wolfowitz.

Ross Wolfe:

‎Doug: There was nothing “radically” (or even remotely) progressive about Hitchens’ justifications for the invasion of Iraq — his mancrush on Wolfowitz notwithstanding (this was, by contrast, an irreproachably revolutionary position).  If you’d bother to read the article, you’d know that Spencer makes no such claims.

In fact, we also take Hitchens’ post-9/11 trajectory to be tragic.  We see it as indicative of a deeper despair with the recent state of politics on the Left and the practical impossibility of revolutionary transformation in the immediate future.  The Left was in such a sorry state in the opening decade of the twenty-first century that many so-called “radical” celebrities had resorted to third-worldist support for backwards, repressive dictators like Saddam Hussein, Bashar al-Assad, Muammar Gaddafi, or reactionary groups like Hamas and Hezbollah.  These figures and groups were celebrated simply in the name of anti-imperialism or anti-Zionism.  They fell into the simplistic sophistry of the old “enemy of my enemy” logic.

Regardless, what do you make of statements by Lenin, the Ur-theorist of the Marxist account of modern imperialism, such as the following:

No Marxist will forget, however, that capitalism is progressive compared with feudalism, and that imperialism is progressive compared with pre-monopoly capitalism. Hence, it is not every struggle against imperialism that we should support.  We will not support a struggle of the reactionary classes against imperialism; we will not support an uprising of the reactionary classes against imperialism and capitalism.

Spencer A. Leonard:

‎@Doug – What’s more telling is that after 2 years you still can’t bring yourself to articulate this piece’s theme, however well or poorly expressed: That Hitchens’ break with the “left” was at least instructive of the wretched condition (not just weakness!) of that left.  I placed that decline in a historical frame stretching back to the 1960s at the very least. Doug’s invocation of what’s “progressive” persuades me that I ought to have pushed it back to the original draft of the 1960s, namely the 1930s, since we have the New Left (and Doug Henwood) to thank for extending the currency (as more than just words) of such Stalinoid concepts as “progressive.”  The only thing different is that, at this point, these faint echoes of a Left that was are scarcely sufficient anymore to provoke anyone to such much as interest themselves in investigating that history, much less to discover how and why it keeps happening to them.

Doug Henwood:

I never thought I’d say this, but: Next to this stuff, give me Stalin.

Ross Wolfe:

Yeah, Doug, I also don’t know why you hold such a grudge against people like Hitchens when you’re close buddies with Louis Proyect, a self-described “solid supporter” of the miserable Venezuelan petro-dictatorship of Chávez — the “postmodern Bonapartist” — and the repressive regime of lifelong strongman Fidel Castro in Cuba.  Come to think of it, you’re also fairly chummy with Tariq Ali, another thinker who includes backwater authoritarian hellholes like Cuba and Venezuela (along with that third great bastion of proletarian revolution, Bolivia) as part of his “Axis of Hope.”  Castro and Chávez, outspoken supporters for Gaddafi to the bitter end.  If countries like these, along with Bolivia, are the only hope remaining for the Left, I think it’s fair to say that the it has failed in carrying out its revolutionary and world-historical mandate.

How you find these political beliefs somehow more justifiable, tolerable, or even understandable than Platypus’ critical position vis–à–vis the existing Left (to my knowledge, none of our members have at any time supported the invasion of Iraq or Afghanistan) will always be a mystery to me.

Despite these unfortunate personal associations, however, I continue to admire your writing and certain of your contributions to the anti-war discourse of the past ten years or so.  It’s unfortunate that you still refuse to engage with Platypus, since it still seems to me that your own political beliefs are far closer to some of those entertained by our members than they are to, say, Proyect’s.

Ross Wolfe:

I never pegged you for a Stalinist, Doug.  But I suppose it makes sense.  Abandoning criticism, you fall back on the most plebian, garden-variety sort of dogmatism.

While I realize that you’ll probably say that you’re joking, the mere fact that you’re willing to peddle this schoolboy shit in order to avoid engaging in open political dialogue is telling.  I present you with an unambiguous statement from Lenin regarding the Left’s justified apathy when it comes to reactionary anti-imperialism, and you prefer to sidestep it because it doesn’t fit neatly into your prefabricated categories of heroic third-world “resistance” against U.S. military chauvinism (though I don’t deny for one moment that it is chauvinism).

The Soviet Moment: The Turn toward Urbanism, the Crisis in the West, and the Crossroads of the Architectural Avant-Garde in Russia

Ivan Leonidov, proposal for a section of Magnitogorsk (1930)

Introduction to Part Two of The Graveyard of Utopia: Soviet Urbanism and the Fate of the International Avant-Garde

The Soviet architectural avant-garde was never as unified as its counterparts in the West.  Almost from the moment of its emergence in the early 1920s, its members were divided along theoretical and methodological lines.  The two main currents of modernist thought on architecture in the Soviet Union could not come to terms over which positive basis of the new architecture held primacy over the others.  One side upheld the formal properties of abstract art as the prime determinant of avant-garde architectural practice; the other side stressed the functional properties of the machine as its foundation.  A similar tension was always latent in modernist architecture internationally, but in no other nation did there result a full-on split like the one experienced by the Soviet avant-garde.  The two competing tendencies were organized into the groups OSA and ASNOVA, as mentioned previously,[1] though subsequent schisms would also occur.  These groups respectively identified themselves as Constructivists (disparagingly dubbed “functionalists” by their opponents) on the one hand and Rationalists (disparagingly dubbed “formalists” by their opponents) on the other.  Though no equivalent rift ever formed within the other national avant-gardes, the Soviet example serves to highlight some of the internal contradictions that existed in modernist ideology as a whole.

German Building in the USSR (1929)

Ernst May’s proposal for the city of Magnitogorsk (1931)

Though the modernist architects in the USSR were fully conversant with avant-garde developments in the West, this was the fractured and fragmented theoretical landscape on which their European and American colleagues would have to stake out their positions.  With the global crisis of capitalism in 1929 and the crisis of parliamentary democracy in the West — along with the ominous rise of ultranationalist (fascist) sentiments in Italy, Germany, Austria, and Spain — many architects outside the Soviet Union looked to the young socialist state as a beacon of hope in an increasingly dark world.  As fortune would have it, the Soviet government was launching its revolutionary program of centralized planning and deliberate industrialization just as the international avant-garde was starting to expound its theories of urban planning post-1925.  The Soviet Union seemed to offer an unprecedented opportunity to the modernists.  It presented a vast canvas onto which the architects could project their most utopian ambitions.

The New Russia, a German periodical (1928)

Mart Stam’s blueprints for Makeevka (1932)

Here, the inherently totalizing aspect of modernist architectural thought was first made manifest.  As the members of the avant-garde began to extrapolate their theories of urbanism from first principles, they came to a deadlock over which particular vision to follow.  While many of the foreign architects were invited to the Soviet Union in order to negotiate some of these impasses, they often found it difficult to make such compromises themselves.  New fissures surfaced as longstanding alliances between certain architects broke down.  Meanwhile, Russia’s technological deficit and relative paucity of advanced building materials led to insurmountable obstacles, preventing the practical realization of the modernists’ plans.  Even more troubling was a cultural shift that was taking place within the Soviet Union, as some of the more radical and novel forms introduced by the modernists in literature and the arts were condemned as “bourgeois” and illegible to the working masses.  The logic of this shift may have owed to a dynamic intrinsic to Russian culture, as Paperny has suggested,[2] but if so, I would like to advance the hypothesis that this occurred mainly as a consequence of the failure of social revolutions to spread in the West following World War I.  If socialism had been established on a more international basis, it is perhaps possible that the peculiarities of Russian culture might not have imposed their logic so unilaterally.  This is, of course, a counterfactual speculation, and it is admittedly a dangerous business to insinuate what alternate historical sequence might have resulted had things only played out differently.  Nevertheless, it is not a point of too much controversy to assert that the USSR’s political isolation had something to do with the grim turn of events that took place for the modernist enterprise in that country.  Also, it should not be thought impossible that some of the cultural binaries that Paperny locates within Russian history (horizontal/vertical,[3] uniform/hierarchical[4]) might not have reflected — or even been reinforced by — broader social binaries emerging out of the dialectical development of global capitalism (such as the spatiotemporal dialectic we have hitherto identified).

OSA’s proposal for Magnitogorsk, by Moisei Ginzburg, Mikhail Okhitovich, and Mikhail Barshch (1930)

Ivan Leonidov – Magnitogorsk Proposal (1930)

Either way, it is crucial to review some of the proposed solutions to the question of planning in the Soviet Union advanced by the international avant-garde, insofar as they sought to address the social problems that so preoccupied them — the housing shortage, the liberation of woman, urban alienation, the antithesis of town and country, and man’s greater estrangement from nature.  Even if these plans were never realized, even if their blatant utopianism foreclosed any possibility they might have possessed from the start, the fact that they were ever imagined at all is itself significant.  For no such visions of an ideal world had ever been dreamt up on such an extraordinary scale: from Plato to More and Campanella, from Renaissance sketches of the città ideale to the fantasies of Boullée and Ledoux, to Owen’s New Harmony, Fourier’s phalanstère, and beyond — never had these propositions amounted to anything more than idle thought experiments or modest programs for single cities existing in isolation from the rest of society.  “[The utopians] still dream of an experimental realization of their social utopias, the establishment of individual phalansteries, the foundation of home colonies, the building of a little Icaria — pocket editions of the new Jerusalem,” wrote Marx and Engels, in their famous Manifesto.[5]  Such utopias were doomed to fail, they argued, as they simply fled from bourgeois society rather than try to overcome it.  By the 1920s and 1930s, however, the Bolsheviks had seemingly uprooted capitalism in Russia, and the rest of the world still appeared ripe for revolution (especially with the onset of the Depression).  For with the maturation of capitalism over the latter half of the nineteenth century, utopia had now been reimagined on a global scale, reflecting at once the real commercial and economic interdependence of nations as well as socialist theories of world revolution.  H.G. Wells expressed this succinctly in his famous Modern Utopia (1905):

No less than a planet will serve the purpose of a modern Utopia.  Time was when a mountain valley or an island seemed to promise sufficient isolation for a polity to maintain itself intact from outward force; the Republic of Plato stood armed ready for defensive war, and the New Atlantis and the Utopia of More in theory, like China and Japan through many centuries of effectual practice, held themselves isolated from intruders.  Such late instances as Butler’s satirical “Erewhon,” and Mr. Stead’s queendom of inverted sexual conditions in Central Africa, found the Tibetan method of slaughtering the inquiring visitor a simple, sufficient rule.  But the whole trend of modern thought is against the permanence of any such enclosures…A state powerful enough to keep isolated under modern conditions would be powerful enough to rule the world, would be, indeed, if not actively ruling, yet passively acquiescent in all other human organizations, and so responsible for them altogether.  World-state, therefore, it must be.[6]

Nikolai Ladovskii’s dynamo-“parabolic” vision of “New Moscow”

Andrei Burov, Sergei Eisenstein, and Le Corbusier (1928)

A Modern Utopia, which in many ways marked the culmination of the series of utopian novels that started in the last decades of the nineteenth century, envisioned the world that was already beginning to emerge around Wells.  This world stood in stark contrast to the ones portrayed in previous utopias, especially in that it was all-encompassing.  It did not admit of localization; nothing could rightfully stand outside of it.  Thereby mirroring the abstract, globalizing spatiality of capitalism, the planetary scale of modern utopianism was combined with the social mission of modernist architecture in its ambition to reshape all of society.  Though Stalin already formulated the notion of sotsializm v’odnoi strane (“Socialism in One Country”) by 1924,[7] the architectural avant-garde within Russia and without retained its commitment to internationalism.  As Paperny has rightly observed, “‘Workers of the world unite!’ — this Marxist slogan, written in Culture One [Paperny’s term for avant-garde culture] on the covers of nearly all architectural publications (and totally absent from that venue in Culture Two [Paperny’s term for Stalinist culture]), indicates that the idea of the international unity of a single class clearly dominated in Culture One over the concepts of either national or state unity.”[8]  The last traces of this celebrated slogan from the end of the Manifesto only disappeared in 1934 from the covers of the popular architectural journals Building Moscow and Architecture of the USSR (successor to the 1931-1934 union journal Soviet Architecture, itself the successor to the iconic 1926-1930 Constructivist periodical Modern Architecture).

Plan for “New Moscow” (April 1929)

Moisei Ginzburg and Mikhail Barshch, Disurbanist scheme for a linear city (1930)

The ultimate collapse of the avant-garde project in the Soviet Union, symbolically marked first by the outcome of the 1932 design competition for the Palace of the Soviets and capped off by the expulsion of all foreign architects in 1937, signaled the demise of one important dimension of modernist architecture.  The social mission that had provided the avant-garde with such positive momentum in its early years was now abandoned.  Its fascination with the forms of industrial engineering and abstract composition remained, but its sense of duty to redress social grievances (or to even fundamentally transform society) vanished.  Curtis makes the following remark regarding this point: “The modern movement was a revolution in social purpose as well as architectural forms.  It tried to reconcile industrialism, society, and nature, projecting prototypes for mass housing and ideal plans for entire cities.”[9]  Following the Soviet fiasco and the general hiatus of new construction up through the end of the Second World War, this feeling of social purpose had evaporated.  Already by 1960, Banham could take stock of the way that modern architecture had come to be perceived as part of the armature of Fordist administrative capitalism.  “[I]f the [modern] style has finished up as the architecture of anonymous corporate domination,” reminded Banham, “it is worth remembering that this was not how it started out.”[10]  It is the thesis of the present study that the modernists’ experience in the USSR, the Soviet moment, marked the pivotal turning point in this development.


[1] See page 6 of the present paper.

[2] The principal focus of Paperny’s brilliant Culture Two is on the structural opposition of two patterns operative within Russian culture, which can be identified with the “avant-garde” 1920s and the “Stalinist” 1930s-1950s: “The concept of Culture One is constructed here primarily based on materials from the 1920s, whereas Culture Two is based on materials from the 1930s to 1950s.”

However, Paperny identifies these two cultural patterns as broader tendencies within Russian history as a whole, extending back at least as far as the ascension of the Muscovite principality in the sixteenth century: “The juxtaposition of Cultures One and Two is a convenient way to describe the events that transpired in the same space but at different times.  This work voices that a certain portion of the events in Russian history (including events having to do with changes in spatial conceptions) can be described in terms of an alternation of the ascendancy of Culture One and Culture Two.  Therefore, because I wish to trace a unifying principle throughout history, my attention is primarily focused on the territory of the Muscovite State under Ivan III, and especially Moscow.”  Paperny, Vladimir.  Architecture in the Age of Stalin: Culture Two.  Translated by John Hill and Roann Barris in collaboration with Vladimir Paperny.  (Cambridge University Press.  New York, NY: 2002).  Pg. xxiii.  Originally published in 1985.

[3] Ibid., pgs. 44-69.

[4] Ibid., pgs. 70-103.

[5] Marx and Engels, Manifesto of the Communist Party.  Pg. 28.

[6] Wells, H.G.  A Modern Utopia.  (University of Nebraska Press.  New York, NY: 1967).  Pgs. 11-12.

[7] “[T]he theory that the victory of socialism in one country is impossible, has proved to be an artificial and untenable theory.  The seven years’ history of the proletarian revolution in Russia speaks not for but against this theory.”  Stalin, Iosif.  “The October Revolution and the Tactics of the Russian Communists? [Preface to a book On the Road to October].”  Translator uncredited.  Collected Works, Volume 6: 1924.  (Foreign Languages Publishing House.  Moscow, Soviet Union: 1954).  Pg. 414.

[8] Paperny, Architecture in the Age of Stalin: Culture Two.  Pg. 44.

[9] Curtis, Modern Architecture Since 1900.  Pg. 15.

[10] Banham, Theory and Design in the First Machine Age.  Pg. 9.

An Interesting Elaboration of My Last Entry

Shurpin’s "Morning of our Fatherland"

Sonia-Belle has posted an interesting elaboration and expansion  of my recent entry on “The Stalinization of Post-Revolutionary Art and Architecture.”  She noted how, despite the limitations imposed on them by the tenets of Socialist realism, some artists were still able to achieve interesting artistic and painterly effects.  Despite its repugnant subject-matter, with Stalin in one of his characteristic poses gazing out onto his Soviet Fatherland with dignity and resolve, Shurpin’s use of yellow-on-yellow is extremely striking.  The white of Stalin’s uniform is only barely suggested beneath its absorption of the sun’s soft rays.

The Stalinization of Post-Revolutionary Soviet Art and Architecture

Panteleimon (brother of Il'ia) Golosov's Submission for the Narkomtiazhprom Competition

The vibrant artistic culture that existed in post-revolutionary Russia thrived up until the early 1930s. During that time, the Soviet government allowed a great deal of creative liberty, with a number of independent artistic and architectural movements sprouting up in the aftermath of October.  Some state oversight existed in the capacity of Narkompros, the People’s Commissariat of Enlightenment.  Its Fine Arts division sponsored some projects, but gave no special preference to any particular group or style.  Narkompros’ director (and Lenin’s old friend) Anatolii Lunacharskii may have been more fond of the classics of Western civilization than he was of the modernists’ brash iconoclasm, but he was remarkably tolerant of any group that displayed enthusiasm for the Bolsheviks’ social and political revolution.

Post-revolutionary art and architecture can be disaggregated into three main categories: the modernist, the atavistic, and the “proletarian.”  This third category traced its origins to Aleksandr Bogdanov, one of leading figures in Russian Social-Democracy and Lenin’s early rival within the Bolshevik party.  Modernism had emerged in pre-war Russia out of the fragmentation of Symbolism in the fields of literature, poetry, and art, but absorbed international influences as well.  The traditionalist eclecticism of artistic and architectural atavism was passed on through the Imperial Academy system, which had been imported from Western Europe some two hundred years before.

Tatlin's Tower (1919) Digitally Superimposed on the Petersburg Skyline

Out of these three groups, the modernists were the first to lend their support to the Bolshevik cause during the Revolution.  Only months after October 1917, Maiakovskii and others declared their solidarity with Lenin’s party.  They saw the social and political revolution carried out by the communists as a parallel to the artistic revolution that they were attempting to realize.  But the Soviet avant-garde was far from being a unitary movement.  In the fifteen years following the October Revolution, numerous avant-garde currents were established, each with their own agendas and often antagonisms against one another.  They shared a rejection of the ways of the past, and they tended to be more internationalist and experimental in orientation.  There were the Russian Futurists (very different from their Italian counterparts), painterly and architectural Suprematists, Productivists, artistic and architectural Constructivists, and Formalists in architecture and literary theory, etc. These various groups also invited modernists from other countries to join in the project of building a new society.

Eclectic Architecture from 1924

At the same time, however, there was the more conservative brand of eclectic art and architecture inherited from the old academy system. These artists and architects were generally referred to as the academicians, and were generally despised by the avant-gardists.  They saw artistic and architectural history as a sort of inventory of recognized styles that could be arbitrarily combined or juxtaposed at the whim of the artist or architect.  This is why their style was often referred to as “historicist.”

Anti-Capital (1920)

Alongside this, there was the Proletkult/proleterian art movement that Lenin and Trotskii were so uncomfortable with, that tended to be more realist and “heroic” in its representation of workers, Bolshevik leaders, and revolutionary battle scenes.  They believed that there would emerge a new form of art and architecture that was both created by and legible to the revolutionary proletariat.  They believed that the working masses had already established their own essential culture in opposition to bourgeois taste and high society under capitalism.  Lenin and Trotskii criticized them for believing that the culture of the proletariat would be that drastically different than the culture that had predominated under capitalism.  The other aspect that disturbed them was that the Bolshevik Revolution was meant to create a classless society, not a specifically proletarian society.  Nevertheless, Proletkult and proletarian art merged with elements of a strange brand of monumentalist avant-gardism that in architecture banded together in the group VOPRA, and this led to the Stalinist synthesis of Socialist realism.

Around 1931-1933, Stalin and his henchmen intervened and wanted to put an end to the various competing groups and form an official style that would be run by forcibly unionizing the different art and architectural groups together. Once all the groups had been subsumed into All-Union appendages of the state, bureaucratized and monitored closely, the decision was made to institute Socialist realism.  This way, all artists and architects had to be registered with and licensed by the state and made to conform to union mandates handed down from above, by the Stalinist hierarchy.  Those who did not join with the state-funded unions would not have their work supported or even recognized by the Soviet government, and would not receive the regular income that the union provided.

Works now had to be:

  1. Proletarian: art relevant to the workers and understandable to them.
  2. Typical: scenes of every day life of the people.
  3. Realistic: in the representational sense.
  4. Partisan: supportive of the aims of the State and the Party.

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Ernst May, “City Building in the USSR” (1931)

Ernst May and collaborators, “The General Plan of Magnitogorsk — a settlement for 150,000 inhabitants attached to the Magnitogorsk industrial complex” (1931)

From Das Neue Rußland, vol. VIII-IX.  Berlin, 1931:

City Planning in Evolution

If there is any one area of endeavor in the USSR where the Revolution is still in full motion, then city building and dwelling construction must be considered first.  This is not surprising, for the replacement of a thousand-year-old social system by a new one is a process that will take more than just a dozen years to complete, or even to provide a clear and unequivocal direction.  Moreover, since the thorough reorganization of the the entire social life of the USSR, which covers on sixth of the land area of our globe, will vitally affect city development and housing everywhere, it follows that within the context of this general process of change it is at the present moment impossible to offer a panacea that would suddenly cure all the many ills accumulated over centuries and bring about immediate mature results.

Nevertheless, a number of theories have been advanced and are in hard competition with each other.  Some have been published abroad, and this in turn may have led to the impression that it is only these that represent the mainstream of Russian city planning.  Nothing could be more misleading!

So far there has been no firm commitment to one or the other system of city planning, and by all indications no such commitment should be forthcoming in the near future.  This does not mean that the field is dominated by a lack of planning or by arbitrariness.  The basic precepts of modern city planning, which in the past years have found wide acceptance in Europe, and which are now being implemented, have become the A to Z of planning in the USSR as well.  Clear separation of industry and residence, rational traffic design, the systematic organization of green areas, etc., are considered as valid a basis for healthy planning there as here; similarly, open-block planning is giving way to single-row building.

The Central Problem of the Socialist City

However, even though the general principles for the planning of Socialist cities have been established, the real problem is only beginning.  In other words, a city structure will have to be developed that in terms of its entire genesis as well as in terms of its internal articulation and structuring will be fundamentally different from the capitalist cities [189] in the rest of the world.  While our own cities in most cases owe their origin to commerce and the market place, with private ownership of land largely determining their form, the generating force behind the development of new cities in the Soviet Union is always and exclusively industrial economic production, regardless of whether in the form of industrial combines or agricultural collectives.  In contrast to prevailing practice in Europe, and with particular reference to trends in the USA, building densities in Soviet cities are not influenced by artificially inflated land values, as often happens in our case, but solely by the laws of social hygiene and economy.  In connection with this it should be pointed out most emphatically that the word ‘economy’ has taken on an entirely new meaning east of the Polish border.  Investments, which in a local sense may appear to be unprofitable, become convincingly [190] viable when seen from the vantage point of over all national planning by the state.

At this point I should like to point out most emphatically that among the innumerable misjudgments made abroad, none is more incorrect than that which assumes that work in the field of city planning and housing in the USSR is done without rhyme or reason, and that the ground has been cut out from under their feet.  The truth is that the economic and cultural reconstruction of all life in the USSR has no parallel in the history of mankind.  It is equally true that this reconstruction is being accomplished by a sober evaluation of all the realities, and it should be obvious to any observer that in each successive stage, matters recognized as desirable and ideal are being consciously subordinated to matters that are feasible and possible within the limitations of the present.  In the course of this discussion I shall return to this point on appropriate occasions.

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