The death of Marat and the death of art

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Jean-Paul Marat, the famous French revolutionary and member of the Club des Cordeliers, was assassinated by the Girondin sympathizer Charlotte Corday two hundred twenty-two years ago today. David’s rendering of Marat lying dead and bloodied in his bathtub, Corday’s concocted note still held in his left hand, is perhaps the most iconic political image of all time. On numerous occasions it has been parodied, satirized, and otherwise détourned (most notably in 1860, under Louis Bonaparte’s reactionary Second Empire, by the “patriotic” painter Paul Jacques Aimé Baudry).

An account of Marat’s death and subsequent canonization as a martyr of the Revolution appears below, taken from Arno Mayer’s The Furies (2000). This is then followed by several hilarious, more recent parodies of David’s painting. I’ve already stated on numerous occasions that art is, for all intents and purposes, dead. So it should come as no surprise that The Death of Marat itself would itself fall victim to the death of art. Enjoy.

jacques-louis david, mort de marat (1793)the-death-of-marat-1793-oil-on-canvas-joseph-roques

The death of Marat
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Had it not been for the rising storm [of Terror], the assassination of Marat, on July 13, 1793, the eve of the fourth anniversary of the fall of the Bastille, most likely would have been an isolated and harmless bolt of political lightning. But with the turbulent weather, Marie-Anne-Charlotte de Corday d’Armont’s fatal deed touched off a political firestorm. In death even more than in life, Marat lent himself to being at once apotheosized and demonized — as the incarnation of good or evil, light or darkness, virtue or vice, purity or impurity.

Disenchanted with the Revolution, Charlotte Corday claimed that by killing Marat she meant to “avenge untold innocent victims” as well as “save thousands of lives…and prevent many other disasters.” When the judges, before sentencing her to death, asked whether she “thought she had slain all the Marats,” she replied that with “this one dead, all the others will be put in fear.”

Almost instantly Corday was both excoriated and extolled as the arch-avenger. One of the revolutionary papers reported that on hearing of Marat’s assassination, several women exclaimed that death by guillotine would be “too mild for such a heinous crime” and vowed to “cut up and devour the scoundrel who had deprived the people of their best friend.” After noting in Père Duchesne that to curse Corday was to “fire the people’s vengeance,” Hébert likewise insisted that to “fit the crime” the punishment would have to be “more terrible and degrading than death by guillotine.” As for Charlotte Corday, on being turned over to the Abbaye prison, she apparently feared “that the people would tear her limb from limb.” She did not breathe easier until she thought she stood fair to be “beheaded by the guillotine, which would be a gentle death.”

Charlotte_Corday Carlota_Corday_1889_by_Arturo_Michelena

There was, indeed, considerable apprehension that an overwrought crowd would once again invest the Abbaye prison, this time to touch off an uncontrollable massacre with the vindictive slaying of Marat’s assassin. At the Convention several deputies, worried that a popular “clamor for vengeance” would set off “a terrible explosion,” urged citizens to remain both calm and vigilant at the same time that they reassured them that they “would be avenged.” Likewise François Hanriot, the hardline commander of the capital’s national guard, simultaneously approved the cry for vengeance and stressed that “the best way to keep in check the aristocracy was to trust and support our courts of law.” Presently even the firebrand Hébert sought to calm the atmosphere, insisting that “the day of vengeance was not yet at hand” partly because Paris still needed to persuade the provinces that the capital was not “a city of cannibals.”

In the meantime, at the main Jacobin club there was a move to enshrine Marat, the martyr of liberty, in the Pantheon. But Robespierre objected, contending that by giving people a false sense of “redress,” such a spectacular homage would assuage their “thirst for vengeance.” On July 15 a delegation of the Society of the Men of August 10 came to the Convention to “demand that Marat be avenged” rather than given “the honors of the Pantheon,” not least because he was, in any case, assured of a “permanent Pantheon in everyone’s heart.”

By this time several bards of the Revolution were entrusted with planning a solemn funeral rite for Marat. It stands to reason that the iconoclastic intelligentsia, including the unbound artists of the new order, should have turned to celebrating and commemorating the Revolution’s major events and heroic leaders or martyrs. In this way they hoped to challenge and replace the resplendent public ceremonials of the ancien régime. Jacques-Louis David is emblematic of these self-conscious activist illuminati who came forward to assist in laying the foundations for a future full of promise. An early partisan of reform, he was radicalized by the force of circumstance. With time he became a fervent champion of the nascent republic and Jacobin patriotism. David was elected one of the capital’s deputies in the National Convention and eventually served on its Committee of General Security. He had a sympathetic understanding for Robespierre and Marat, with whom he consorted off and on.

David_Self_Portrait2013 04 27 Le serment du Jeu de Paume, le 20 juin 1789 - Jacques-Louis David - Carnavalet 2

David emerged, of course, as not only the peerless painter-artist of the Revolution but also its master metteur en scène. Characteristically he idealized and ideologized one of the Revolution’s grand founding events in The Oath of the Tennis Court, his first and arguably one of his most compelling historical paintings, started in mid-1790. No less exemplary, David was the guiding spirit of the ceremonial transfer of Voltaire’s ashes to the Pantheon in June 1791. This sober and grandiose funeral procession, partly mimetic of yesterday’s religious prototype and featuring Greco-Roman imagery, was staged to symbolize and herald “the victory of reason over superstition, philosophy over theology, justice over tyranny, tolerance over fanaticism.” David was responsible for the overall “organization” and “decoration” of this and several later public rites, while François Gossec and Marie-Joseph Chénier provided, respectively, the music and lyrics.

David does not seem to have had a hand in conceiving and staging the cavalry of Louis XVI — procession, execution, burial — on January 21, 1793, which was designed to consummate the king’s profanation as a symbol of monarchy while diligently precluding his living on as a martyr. Indeed, David’s calling and vision was to construct, represent, and memorialize heroes, not anti-heroes; martyrs, not demons. Nowhere was his revolutionary commitment more intensely tested and expressed than in his orchestration of the funeral of Jean-Paul Marat and his martyr painting of this uncommon revolutionary. A few months earlier David had experimented with new techniques of funeral pageantry and iconography in rendering honor to Michel Lepeletier de Saint-Fargeau. As deputy from Yonne, this aristocrat had voted the death penalty for Louis XVI. In revenge for this apostasy, Lepeletier was mortally stabbed by a former royal bodyguard. David arranged for his semi-nude corpse, with its fatal wound unhidden, to lie in state on the Place Vendôme preceding a memorial service on the floor of the Convention. Shortly thereafter David captured the atmosphere and message of the ceremony in his painted exaltation of Lepeletier. In every respect, Lepeletier’s apotheosis prefigured Marat’s. Continue reading

Gosprom: The State Industry building in Kharkov, 1925-1928

Robert Byron, Gosprom in Kharkov (1929)a Robert Byron, Gosprom in Kharkov (1929)b Robert Byron, Gosprom in Kharkov (1929)c Robert Byron, Gosprom in Kharkov (1929)d

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The most breathtaking of all constructivist projects has to be the Gosprom complex (or “Palace of Industry”) in the Ukrainian city of Kharkov. There can’t have been anything else of this scale and ambition anywhere else in Europe at the time: indeed, it resembles more some particularly ambitious work of the late 1960s than the mid-twenties, an unacknowledged prototype of that sixties motif, the elevated walkway, the street in the sky. Constructed between 1926 and 1928, apparently by volunteers from the local Komsomol, this is Metropolis — or Aelita — actualized. Concrete and glass blocks from 7 to 13 storeys connected by skyways, curving round a huge public square, this resembles a small city in its own right. Its designers, Serafimov, Kravets, and Felger, appear to have been as obscure at the time as they have been since, yet only an El Lissitsky, a Gropius, or a Corbusier were designing anything as ambitious in 1926. Eisenstein and Vertov both used it on film (The General Line and Three Songs of Lenin, respectively), aptly, as the contrasts, angles and multiple levels had spatial affinities to their montage techniques: more literally, Friedrich Ermler used it in Fragment of Empire, a communist Rip van Winkle tale, as exemplar of the incomprehensible new world that the sleeper awakes to.

(From Owen Hatherley’s Militant Modernism)

Continue reading

Dmitrii Moor, Bolshevik cartoonist and propagandist (1883-1946)

My favorite Bolshevik propaganda artist of all time might be Dmitrii Orlov, better known as “Moor,” who was active in revolutionary struggles from 1905 through the Russian Civil War and World War II. His drawings are just so fucking hardcore. Readers of this blog will have seen some of his illustrations for the militant godless journal Bezbozhnik, as well as other assorted propaganda posters. Trotsky named him as one of the USSR’s finest young cartoonists.

In this post I’m just including some of the ones I like the most. No real rhyme or reason to it. Enjoy!

 tumblr_npzq00jK1g1ta0q7zo1_1280 IN_1134_B_l Плакаты СССР- Ты записался добровольцем? (Моор Д.) 1920 00-unknown-artist-the-golden-idol-of-the-lord-of-world-capitalism-1918-20 Плакаты СССР- Помоги. (Моор Д.) 1921 Continue reading

Tankie Twitter on 9/11 “truth”

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was gonna abolish the state
but then i got high
i won the struggle for power
but then i got high

now i’m signin’ treaties w/ Ribbentrop against the Allies
’cause i got high ’cause i got high ’cause i got high

Jet fuel can’t melt the man of steel [Stalin], bro.

Bong-hit time. When you gonna learn to taste yr weed, JoeSta?

Enjoy.
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FireShot Capture 33 - Ross Wolfe on Twitt_ - https___twitter.com_rosswolfe_status_610625253216284674

About Two Squares: El Lissitzky’s 1922 suprematist picture book for kids

Originally published in the
Cambridge Literary Review
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Most children’s books do not come with instructions for how to read them. El Lissitzky’s About Two Squares is not most children’s books.

Lissitzky first announced his plan to write a “suprematist tale”[1] about two intergalactic squares while teaching graphic arts and printmaking at the Vitebsk Institute of Popular Art in 1920. Traces of the idea can be detected as early as September 1919, however, shortly after he arrived in the city. Initially a disciple of the Jewish folk painter Marc Chagall, Lissitzky soon came under the spell of the charismatic avant-garde pioneer Kazimir Malevich (who usurped Chagall’s role as rector of the Institute that winter). Almost immediately one notices a shift in the form and subject-matter of Lissitzky’s oeuvre, as he abandoned village scenes and stylized conventional figures in favor of planar abstractions and floating rectilinear shapes. Within a matter of months, his entire artistic worldview was transformed.

Part of this transformation involved a change in Lissitzky’s approach to typography and book design. These were fields in which he showed prior interest. He had prepared a songbook for the traditional Passover poem Chad Gadya in 1917, and then again in 1919. Both of these versions clearly demonstrate the abiding influence of Chagall, though by the time the second one was published, suprematist elements already began to enter in. Following the release of the 1919 edition, Lissitzky informed Malevich of his newfound perspective:

It is my belief that the thoughts we drink from the book with our eyes must be poured over every visible shape. The letters and punctuation marks, which introduce order to thoughts, must also be taken into account. Besides that, the way the rows are set corresponds to certain condensations of thought; these should be condensed for the benefit of the eye as well.[2]

Evidently, suprematism for Lissitzky had consequences well beyond the realm of the painted object. It implied a broader reconsideration of the medium of print. Lissitzky was an ardent — if self-trained — bibliologist, and in 1926 he hypothesized what effect modern art might have on the future of the book. “There are today two dimensions to the word,” he maintained in an article for the Gutenberg-Jahrbuch. “As sound, it is a function of time; as exposition, of space. The book of the future must be both.”[3]

Yve-Alain Bois, a Swiss art critic and Lissitzky scholar, has noted that authors only began to take an interest in the visuals of their books toward the end of the nineteenth century.[4] Questions of format, font, and layout generally seemed besides the point. Little attention was paid to the arrangement of text upon the page. With the advent of photography and improved printing technology, however, new possibilities were opened. Citing the development of “facsimile-electrotype (or half-tone blocks),” Lissitzky speculated that this would allow for greater flexibility in the illustration of written materials.[5] Great innovators like F.T. Marinetti likewise had a role to play in Lissitzky’s scheme, discerning the potential of boldface lettering and ALL CAPS to convey emphasis or emotion.[6] Nevertheless, the aesthetics of print continued to lag behind other fields of art until the outbreak of World War I, usually held up as a cultural watershed.

Russia was no exception to this trend. “Before October 1917,” Lissitzky explained in a catalog ten years later, “our artists hardly concerned themselves with typesetting. That matter was left to the printers.” He continued: “After October, many of our premier artists in different fields, hoping to express the new through the specific properties of each medium, took up the task of reinventing the book according to the material of the book itself — i.e., type.”[7] Painters especially participated in this process, starting even before the war, working together with poets to revolutionize the medium.[8] By the 1920s, swept along by the maelstrom of revolution, avant-garde bookmakers were employed in the production of posters as propaganda for the masses. Lissitzky even likened such placards and printed visual displays to single pages ripped from books, magnified and blown up several dozen times.[9]

This new movement, which sought to break down the barrier separating art from life, entailed the “death” of painting as it had hitherto been known. Aleksandr Rodchenko gave up painting in order to pursue photography and agitprop. Varvara Stepanova abandoned the canvas for fabrics and textile patterns. For Lissitzky, the prewar experiments in painting had simply prepared artists for the revolutionary enterprise of construction, an idea charged with meaning at the time. His celebrated PROUN series merely provided the point of departure, being “the way station between art and architecture.”[10] Similarly, the book displaced painting and sculpture as the most monumental art form of revolutionary Russia.[11] It was this fact, in Lissitzky’s view, that sealed the fate of older forms of artistic production. “Once the printed page started to seduce the artist,” he wrote morbidly, “painting slowly died.”[12]

Bois has referred to this rhetorical conceit regarding the death of easel painting as “the cliché of the era.”[13] Was it really nothing more than a cliché, though? Might it not have had a real sociohistoric basis?

Indeed, About Two Squares can be read as a dramatization of this very aspiration, though intended for children. Lissitzky stressed the importance of such literature in the upbringing of the New Man: “We should add to the number of illustrated weeklies the flood of children’s picture-books. Children’s reading teaches them a new plastic language. They grow up with a different relation to image and color, the world and space.”[14] About Two Squares recapitulates Lissitzky’s belief that revolutionary form heralds the arrival of revolutionary content, and that the former must act as a vehicle for the latter.

The book finally appeared in 1922, roughly two years after Lissitzky envisioned it, under the imprimatur of the Scythian press [Skythen Verlag] in Berlin. On the back cover, however, was a symbol indicating its origin in Vitebsk: the UNOVIS logo — a red square set inside a thin black frame, partially circumscribed within a circle. Scythian publishing house was loosely affiliated with the Left Socialist-Revolutionary party in Russia, run mostly by Russian symbolist poets living abroad. In some ways it may be seen as a prototype of later samizdat operations. About Two Squares was among the first modernist publications they put out. Continue reading

The Marxism of Roland Barthes

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Here are a number of books I’ve found across the web by the French semiologist and literary critic Roland Barthes, all of them downloadable as PDFs:

  1. Writing Degree Zero (1953)
  2. Michelet (1954)
  3. Mythologies (1957)
  4. “Seven Photo Models of Mother Courage” (1958)
  5. Elements of Semiology (1964)
  6. Critical Essays (1964)
  7. Criticism and Truth (1966)
  8. “An Introduction to the Structuralist Analysis of Narrative” (1966)
  9. The Fashion System (1967)
  10. Semiology and Urbanism (1967)
  11. The Grain of the Voice: Interviews, 1962-1980 (1980)
  12. Empire of Signs (1970)
  13. Sade, Fourier, Loyola (1971)
  14. S/Z (1973)
  15. Roland Barthes (1974)
  16. Image Music Text (1977)
  17. A Lover’s Discourse: Fragments (1977)
  18. Camera Lucida: Reflections on Photography (1980)
  19. The Rustle of Language (posthumously published in 1984)
  20. The Language of Fashion (compiled posthumously from Œuvres complètes 1993, 1994, 1995)

Below I have composed a brief sketch of Barthes’ early political leanings, broken into three parts and interspersed with snippets from his biography and articles he wrote.

Part 1

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Roland Barthes’ Marxism tends to get downplayed, especially in light of his post-1968 “turn” toward deconstruction. When he was still a structuralist, however, this dimension of his thinking could scarcely be ignored. Barthes’ structuralism was of a different sort than that of Louis Althusser, or even Claude Lévi-Strauss, who declined to oversee his thesis in the 1950s. His version was sensitive to historical change, despite Saussure’s methodological synchrony. As he put it in “The Structuralist Activity”:

Structuralism does not withdraw history from the world: it seeks to link to history not only certain contents (this has been done a thousand times) but also certain forms, not only the material but also the intelligible, not only the ideological but also the aesthetic. And precisely because all thought about the historically intelligible is also a participation in that intelligibility, structural man is scarcely concerned to last; he knows that structuralism, too, is a certain form of the world, which will change with the world.

It is significant that Barthes’ entry into Marxist political discourse came through his contact with a young Trotskyist named Georges Fournié. French Marxism since the 1920s had been dominated by the Stalinist PCF, with all competing tendencies deemed “dissident.” All this occurred while the two roomed together at a Swiss sanatorium, recovering from tuberculosis.

Thus the literary theorist Martin McQuillan remarks: “Like Lenin, [Barthes] learned his future Marxism in the quiet cantons of Switzerland” (Roland Barthes, Or the Profession of Cultural Studies, pg. 24). McQuillan’s a bit inaccurate here, as Lenin was already a convinced Marxist before ever staying in Switzerland. But he certainly honed his Marxism there, and so the error is a slight one.

Louis-Jean Calvet, Barthes’ biographer, relates the story of Barthes and Fournié’s friendship below.

jacques_livet_1938

Switzerland and Marxism

Louis-Jean Calvet
Roland Barthes: A
Biography
(1990)
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[Georges Fournié] was three years younger than Barthes, and his social background and subsequent life had been completely different from his. An orphan, Fournié had to earn his own living from the age of twelve or thirteen. He had also taken evening classes and eventually become a proofreader. At the age of seventeen, with the outbreak of the Spanish civil war, he joined the republicans and had fought with the POUM on the Aragonese front, where he had been injured. He had then returned to Paris, where he met his future wife Jacqueline and worked with militant anti-fascist groups. Through such groups he had met David Rousset and Maurice Nadeau.

Fournié had been a Trotskyist, an anti-fascist, and a member of the Resistance. His code name in the Resistance had been “Philippe” and his friends continued to call him this after the war. On 19 December 1943 he had been arrested by the Gestapo along with Rousset and other comrades and imprisoned at Fresnes and Campiègne before being deported to Buchenwald. Finally, he had been transferred to Porta Westfalica, a concentration camp near Hanover. For a year and a half his wife had no news of him and it was only in the spring of 1945 that he returned, on a stretcher, exhausted and suffering from tuberculosis. At Bichat hospital he was given a pneumothorax and sent to Leysin. His wife tried to make arrangements to rejoin him there. In October he met Roland Barthes.

However different their backgrounds and temperaments, both men had in common their aloofness from the general atmosphere of the place. Roland, at thirty, was a somewhat distant intellectual, while Georges had survived both the Spanish civil war and deportation. Both men were more mature than the average patient at Leysin. Neither of them liked the adolescent antics and barrack-room humor, which were supposed to take one’s mind off the illness and constant threat of death. In the canteen, where the atmosphere was rather childish (glasses of water and spoonfuls of mashed potato were frequently thrown across the room), both men kept very much to themselves.

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After several attempts, Jacqueline Fournié had finally found work in a luxury sanatorium for rich tuberculosis patients, The Belvédère, which is now a Club Méditerranée hotel. She visited her husband every evening and ate with him in the canteen every Sunday. She remembers Barthes as being extremely reserved in the expression of his thoughts and feelings. The only indication of how he felt was the expression in his eyes or the movement of his lips, and his somewhat mocking sense of irony. He never really laughed out loud, totally uninhibitedly, as if it would be indecent to let himself go. He seemed to be someone without strong passions, always self-controlled, completely a creature of nuance. In this he was the complete opposite of Fournié, who was about to initiate him into the previously unknown universe of Marxist theory and the reality of class struggle.

The two would talk together for hours. Barthes discussed theater, literature, and of course Michelet. Fournié talked about Marx, Trotsky, and Spain. They had mutual admiration for each other, and each taught the other things which had previously been foreign to them. Barthes was extremely lucky that at a time when initiation into Marxism usually came through the Communist party — and more often than not required unconditional support for the political positions of the Soviet Union — Fournié’s Marxism was Trotskyist, anti-Stalinist, and non-dogmatic. [Roland Barthes: A Biography, pgs. 62-64]

Part 2

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Later, when Barthes moved to Paris and began engaging the intellectual scene there, he reaffirmed his Marxian convictions, this time with reference to the writings of Jean-Paul Sartre. “Barthes was bound to find such an atmosphere exciting, since he considered himself both a Sartrean and a Marxist. He decided then that his project was to combine these two philosophies in his approach to literature: to develop a ‘committed’ literature, and to justify Sartre in Marxist terms” (Roland Barthes: A Biography, pg. 74).

Apart from Sartre, the other major literary figure bridging the gap between Barthes’ object of critique and Marxism was Bertolt Brecht. “Near the end of May 1954, [Barthes and his friend Bernard Dort] saw the Berliner Ensemble’s production of Mother Courage at the Paris international festival. It was a revelation to Barthes, who with astonishing speed came up with the following phrase to describe its impact: ‘Brecht is a Marxist who has thought about the sign,’ a phrase he was to use many times. As far as the two friends were concerned, Brecht provided Marxism with the aesthetics it lacked” (Roland Barthes: A Biography, pg. 111). Continue reading

No scabs

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In the history of modern class struggle, those who cross picket lines to fill jobs temporarily vacated by workers on strike are known as “scabs.” Scabs are thus low-cost replacement workers, whose willingness to work for less allows employers to starve out the more organized regular workforce. They are therefore looked down upon, understandably, and treated with disdain. Not all strikebreakers are scabs, however. Company muscle, whether made up of mafiosos or Pinkerton men, are typically deployed in order to clear pickets and escort scabs into work.

Many today on the Left, either unaccustomed to labor disputes or unschooled in their past, are confused by the term “scab.” For example, Sebastian Budgen — an editor for Verso, New Left Review, and Historical Materialism, formerly a member of the SWP in Britain — has written frothy diatribes against anyone who illegally downloads books published by his company (er, I mean “counterhegemonic apparatus”). He bravely denounced the “petit-bourgeois individualist swine” and “loudmouthed freeloading scum” who dared to download “pirate scab versions.”

Thank fuck his series co-editor Peter Thomas stepped in at this point, though apparently for the umpteenth time, to remind him that “scabs” refer exclusively to workers who cross picket lines during a strike. I thought it pretty sad that a publisher of leftist literature would be so terminologically ignorant. Anyway, a more detailed etymology from the Oxford English Dictionary can be read here. Jack London’s famous excoriation of scab workers, from 1915, follows below.

Ode to a scab

Jack London
Circa 1915
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After God had finished the rattlesnake, the toad, and the vampire, He had some awful substance left with which He made a scab.

A scab is a two-legged animal with a cork-screw soul, a water-logged brain, a combination backbone of jelly and glue. Where others have hearts, he carries a tumor of rotten principles.

When a scab comes down the street, men turn their backs and angels weep in heaven, and the Devil shuts the gates of Hell to keep him out.

don__t_scab

No man has a right to scab so long as there is a pool of water to drown his carcass in, or a rope long enough to hang his body with. Judas Iscariot was a gentleman compared with a scab. For betraying his master, he had character enough to hang himself. A scab has not.

Esau sold his birthright for a mess of pottage. Judas Iscariot sold his Savior for thirty pieces of silver. Benedict Arnold sold his country for a promise of a commission in the British Army. The modern strikebreaker sells his birthright, his country, his wife, his children and his fellow men for an unfulfilled promise from his employer, trust or corporation.

Esau was a traitor to himself; Judas Iscariot was a traitor to his God; Benedict Arnold was a traitor to his country; a strikebreaker is a traitor to his God, his country, his wife, his family and his class.

Adorno’s Leninism

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Lenin and Adorno are not often placed side by side, conceptually or historically. More often than not they are counterposed — the former was a revolutionary man of action, while the latter ruminated most of his life on a revolution that never came to pass. It therefore came as a surprise to many when it came to light that Adorno insisted on “a strictly Leninist manifesto” in 1956, during his recorded conversation with Horkheimer. Even Martin Jay, who long sought to distance Frankfurt School critical theory from Leninism, was forced to acknowledge this passing remark, though it was immediately downplayed as an uncharacteristic bit of exuberance (“a brief paroxysm of enthusiasm”). Other critics, such as Todd Cronan, held that Adorno regressed behind Marx in following Lenin, since being determines consciousness and not the other way around. Chris Cutrone, my old mentor/nemesis of Platypus fame, has already criticized this view, so I won’t reprise his comments here.

The majority of Adorno’s public pronouncements regarding Lenin were deprecatory, if appreciative, playing coy with his authority on questions of materialist epistemology. Brecht had wondered why Adorno would bother reexamining philosophers like Mach or Husserl, especially since Lenin had dealt with them so roughly in Materialism and Empiricriticism (1908). Adorno objected that Lenin’s critique of empiriocriticism remained purely transcendental — i.e. rejecting it on the basis of false premises rather than provisionally accepting these false premises and immanently working through them. “When Lenin, rather than go in for epistemology, opposed it in compulsively reiterated avowals of the noumenality of cognitive objects, he meant to demonstrate that subjective positivism is conspiring with the powers that be,” wrote Adorno. “His political requirements turned him against the goal of theoretical cognition. A transcendent argumentation disposes of things on the basis of its claim to power, and with disastrous results: the unpenetrated target of criticism remains undisturbed as it is, and not being hit at all, it can be resurrected at will in changed constellations of power.”

“[D]ialectics as critique implies the criticism of any hypostasization of the mind as the primary thing, the thing that underpins everything else,” he recalled in his 1966 Lectures on Negative Dialectics. “I remember how I once explained all this to Brecht when we were together in exile. Brecht reacted by saying that these matters had all been settled long since — and what he had in mind was the materialist dialectic — and that there was no point in harking back to a controversy that had been superseded by the unreal course of history. I am unable to agree with this. On the one hand, it seems to me that the book whose authority he relied on, Lenin’s book on empiriocriticism, in no way succeeds in delivering what it undertakes to perform, namely a philosophical critique of the hypostasization of the mind or of idealism. It remains a thoroughly dogmatic work which simply presents a specific thesis with a torrent of abuse and in endless variations, without at all attempting a fundamental explanation.”

Just going on these statements, Adorno would seem to be lukewarm toward Lenin at best. Yet Adorno’s references to Lenin made in private, repeatedly in his letters from the 1930s and then again in his taped conversation two decades later, paint a different picture. There are several likely reasons for this. Lars Quadfasel speculates that public mention of Lenin during the 1930s, particularly after the Nazi seizure of power, would have been extremely unwise unless one was heaping scorn upon the Bolshevik leader’s memory. Similarly, after World War II, it was illegal for anyone living in West Germany to belong to the communist party. Moreover, since Lenin’s successors had transformed his teachings, along with those of Marx, into an unmoving set of dogmas collectively referred to as “DiaMat,” it is understandable that Adorno would hesitate to invoke the great revolutionary.

Detlev Claussen’s 2003 biography of Adorno, One Last Genius, perhaps provides the richest picture of Lenin’s enduring influence on Adorno. Claussen writes:

It was [Adorno’s] collaboration with Horkheimer [during the 1930s] that enabled him to shed these intellectual infantile disorders. His letters are full of bizarre references to Lenin, as if he wanted to outdo the “orthodox Marxism” advocated in Lukács’s History and Class Consciousness. Adorno’s original politicization took place when he was still very young, evidently in the course of his readings with Kracauer. This supplied him with key terms that expanded his horizon beyond his artistic and aesthetic concerns. This habit of thinking in keywords recurs in the taped records of the 1950s, when he would refer to Lenin, in the middle of the cold war, at a time when the Communist Party was banned and even party members scarcely dared to mention his name. It was at this time that he proposed to Horkheimer that they should produce a reworked Communist Manifesto that would be “strictly Leninist.” Behind the closed doors of the Institute, Adorno’s aim in 1956 was not to go back to Marx, but to go beyond him. He told Horkheimer that “I always wanted to try to produce a theory that would be faithful to Marx, Engels and Lenin, while not lagging behind the achievements of the most advanced culture.” Paradoxically, summing up the course of his life to that point in 1956, Adorno mentions his road toward politicization. He had arrived at Lenin, he claimed, via music. Using one of his key ideas, the idea that all knowledge is socially mediated, Adorno once again confirmed the importance of Lenin: “Marx was too harmless; he probably imagined quite naïvely that human beings are basically the same in all essentials and will remain so. It would be a good idea, therefore, to deprive them of their second nature. He was not concerned with their subjectivity; he probably didn’t look into that too closely. The idea that human beings are the products of society down to their innermost core is an idea that he would have rejected as a milieu theory. Lenin was the first person to assert this.”

In reality it was only Lenin’s contemporary Freud who noticed people’s subjectivity. Horkheimer and Adorno’s original idea of writing something jointly, the original seed of Dialectic of Enlightenment, was concerned with a critique of the individual. It was the attitude toward psychoanalysis that revealed the split in the material which produced critical theory, on the one hand, and revisionist psychoanalysis, as pioneered by Erich Fromm, on the other. The directness of the political vocabulary that was retained until well into the fifties becomes clear from a letter of Adorno’s to Horkheimer dated 21 March 1936. Adorno complains that Fromm has placed him in the “paradoxical situation of having to defend Freud. He is both sentimental and false, a combination of social democracy and anarchism; above all, there is a painful absence of dialectical thinking. He takes far too simple a view of authority, without which, after all, neither Lenin’s vanguard nor his dictatorship is conceivable. I would urgently advise him to read Lenin.”

Below are two long articles, each titled “Adorno’s Leninism.” The first, by Cutrone, presents a number of parallels between Lenin, Trotsky, and Adorno, some passages being virtual paraphrases. It’s a bit quote-heavy, in that almost Benjaminian style that presents long blocks of quoted texts followed by brief commentary, but it’s quite good. After that, there’s an article by Quadfasel in German (“Adornos Leninismus”) where he touches on several of the matters discussed in this introduction, as well as ongoing textual controversies about the compatibility or incompatibility of Adornian theory with Leninist practice — again, mostly in German. Quadfasel’s article includes a rather long fragment by Adorno from 1935 titled “The Fulcrum,” which I’ve attempted to translate below. Claudia Dallek assisted in the translation:

To learn from Lenin: Shouldn’t that really mean more than taking over methods of illegal work that were appropriate for the police state of Prussia? Such methods are not appropriate for a dictatorship whose power to rule [Herrschgewalt] strikes with even greater precision (insofar as it is able to con people, not based on democracy, but on a population of willing servants, informants, and pimps). Instead of sacrificing our best workers in the distribution of flyers — which publish about revolutionary developments that are simultaneously hindered by the arrest of these very same agitators — it is preferable to study Lenin’s attitude toward the revolution of Kerensky [in February 1917]: his ability to discover and use the fulcrum [Hebelpunkt, leverage point] of society to lift the measureless weight of the state with minimal energy. The proletariat was too weak to take on tsarist state authority; only the bourgeoisie could do that, by hastily bringing in the harvest of its revolutionary century. But this late bourgeoisie was like the bourgeoisie of other countries, sworn to war and therefore unable to keep its mass basis [Massenbasis] in a subordinate state. It was numerically spread too thin to fill the sphere of power and too ideologically divided to shape it, so it had to yield to the push that was made in the name of peace. To deliberately intervene in the concatenation of all these was necessary on Lenin’s part. He could have never defeated the autocracy, but certainly [could defeat] the democracy of the Brusilov offensive [the government that took over following the disastrous “June advance” of 1916]. He was able to recognize this beforehand and managed to master this blind violence by planning for it, the way cunning defeats the monster in fairy tales. That’s what made the immortal dialectical moment of his act the starting point and the prototype of every genuine communist state and revolution. The fate of the German working class, maybe that of humankind, depends on finding such a point, if it’s still indeed possible to find. There is no other hope to avoid war than this. Those who prophesy communism as the certain end of war, and therefore let things take their course, should remember that nobody knows (let alone the generals) what productive forces and means of production will be left to begin establishing the world.

Another friend, Sebastian Vetter, tells me that Adorno’s student Helmut Dahmer is preparing an essay on the influence of Leon Trotsky on Walter Benjamin. Dahmer is a specialist in psychoanalysis and critical theory, who hasn’t had much of his work translated into English since the 1970s, so I’m hoping it comes out soon and is good enough to merit a wider, Anglophone readership.

Adorno in 1935

Adorno’s Leninism

Chris Cutrone
Platypus Review
April 21, 2010
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Adorno’s political relevance

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Theodor W. Adorno, who was born in 1903 and lived until 1969, has a continuing purchase on problems of politics on the Left by virtue of his critical engagement with two crucial periods in the history of the Left: the 1930s “Old” Left and the 1960s “New Left.” Adorno’s critical theory, spanning this historical interval of the mid-20th century, can help make sense of the problems of the combined and ramified legacy of both periods.

Adorno is the key thinker for understanding 20th century Marxism and its discontents. As T.J. Clark has put it (in “Should Benjamin Have Read Marx?,” 2003), Adorno “[spent a lifetime] building ever more elaborate conceptual trenches to outflank the Third International.” The period of Adorno’s life, coming of age in the 1920s, in the wake of the failed international anticapitalist revolution that had opened in Russia in 1917 and continued but was defeated in Germany, Hungary and Italy in 1919, and living through the darkest periods of fascism and war in the mid-20th century to the end of the 1960s, profoundly informed his critical theory. As he put it in the introduction to the last collection of his essays he edited for publication before he died, he sought to bring together “philosophical speculation and drastic experience.” Adorno reflected on his “drastic” historical experience through the immanent critique, the critique from within, of Marxism. Adorno thought Marxism had failed as an emancipatory politics but still demanded redemption, and that this could be achieved only on the basis of Marxism itself. Adorno’s critical theory was a Marxist critique of Marxism, and as such reveals key aspects of Marxism that had otherwise become buried, as a function of the degenerations Marxism suffered from the 1930s through the 1960s. Several of Adorno’s writings, from the 1930s-1940s and the 1960s, illustrate the abiding concerns of his critical theory throughout this period. Continue reading

Tatlin’s tower

Nico Israel has a book out that looks fairly interesting, Spirals: The Whirled Image in Twentieth Century Art and Literature. In it he discusses Wyndham Lewis’ vorticism, Vladimir Tatlin’s monument to the Third International, land Robert Smithson’s Spiral Jetty (among other things). He also relates a few famous lines by Lenin about the spiraling course of the dialectic in history, from his 1915 Granat Encyclopedia entry on Karl Marx:

In our times, the idea of development, of evolution, has almost completely penetrated social consciousness, only in other ways, and not through Hegelian philosophy. Still, this idea, as formulated by Marx and Engels on the basis of Hegel’s philosophy, is far more comprehensive and far richer in content than the current idea of evolution is. A development that repeats, as it were, stages that have already been passed, but repeats them in a different way, on a higher basis (“the negation of the negation”), a development, so to speak, that proceeds in spirals, not in a straight line; a development by leaps, catastrophes, and revolutions; “breaks in continuity”; the transformation of quantity into quality; inner impulses towards development, imparted by the contradiction and conflict of the various forces and tendencies acting on a given body, or within a given phenomenon, or within a given society; the interdependence and the closest and indissoluble connection between all aspects of any phenomenon (history constantly revealing ever new aspects), a connection that provides a uniform, and universal process of motion, one that follows definite laws — these are some of the features of dialectics as a doctrine of development that is richer than the conventional one.

Marx and Engels were not the the first to put dialectical development in the shape of a spiral. As Lenin indicates, Hegel before him visualized it as such. There’s another source of the “whirled image” in Marx’s theory: Jean Charles Léonard de Sismondi. Fredric Jameson pointed out in his recent book, Representing Capital, that “repetition — the selling of labor power week after week, its productive consumption by the capitalist in a cycle Sismondi rightly recharacterized as a spiral — never knew a first time in the first place.”

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For Marx, the spiral motion first appears as circulating capital:

Exchange-value posited as the unity of commodity and money is capital, and this positing itself appears as the circulation of capital. (Which is, however, a spiral, an expanding curve, not a simple circle)…As the subject predominant [übergreifend] over the different phases of this movement, as value sustaining and multiplying itself in it, as the subject of these metamorphoses proceeding in a circular course — as a spiral, as an expanding circle — capital is circulating capital. Circulating capital is therefore initially not a particular form of capital, but is rather capital itself, in a further developed aspect, as subject of the movement just described, which it, itself, is as its own realization process.

In Capital, Marx explicitly acknowledged his debt to Sismondi in this respect: “Looked at concretely, accumulation can be resolved into the production of capital on a progressively increasing scale. The cycle of simple reproduction alters its form and, to use Sismondi’s expression, changes into a spiral.” Put another way, capital comes to ground this expansive outward movement, in which all sorts of violent jolts, fits, and spasms take place. Capital in history establishes a sort of treadmill pattern of transformation and reconstitution, as the sociologist Moishe Postone put it. Yet without its integral antithesis, class conscious wage-laborers mobilized in opposition to it, capital’s inherent dynamism is itself diminished. Adorno thus astutely observed in his 1965 lectures on History and Freedom: “Without wasting time on the overworked notion of a spiral development in history, it can be said that a direct progress towards freedom cannot be discerned.” (Rodney Livingstone suspected Adorno might have had Toynbee in mind, but I think he was commenting on the old Leninist dictum).

When Tatlin built his monument to the Third Revolution, progress did not seem such an impossibility. Though Europe lay in ruins, a new world seemed to open up. A hundred years on, this possibility seems by now closed. In our present moment, the key to the future resides in the past. Below are a few period pieces reflecting on Tatlin’s tower that express this bygone sensibility. Enjoy.

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The monument to the Third International

Nikolai Punin
Iskusstvo kommuny
September 1920

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In 1919 the Department of Fine Arts within the People’s Commissariat for Enlightenment commissioned the artist V. E. Tatlin to develop a design for a monument to the Third International. The artist Tatlin immediately set to work and produced a design. The artists I.A. Meerzon, M.P. Vinogradov, and T.M. Shapiro formed a “Creative Collective,” then developed the design in detail and constructed a model.

The main idea of the monument is based on an organic synthesis of the principles of architecture, sculpture and painting and was intended to produce a new type of monumental structure, uniting in itself a purely creative form with a utilitarian form. In accordance with this idea, the design of the monument consists of three large glass structures, erected by means of a complex system of vertical struts and spirals. These structures are arranged one above the other and are contained within different, harmoniously related forms. A special type of mechanism would enable them to move at different speeds. The lower structure (A), in the form of a cube, moves on its axis at the speed of one revolution a year and is intended for legislative purposes. Here may be held conferences of the International, meetings of international congresses and other broadly legislative meetings… The next structure (B), in the form of a pyramid, rotates on its axis at the speed of one full revolution a month and is intended for executive functions (the Executive Committee of the International, the secretariat and other administrative and executive  bodies). Finally, the upper cylinder (C), rotating at a speed of one revolution a day, is intended to be a resource center for the following facilities: an information office; a newspaper; the publication of proclamations, brochures and manifestos — in a word, all the various means of broadly informing the international proletariat, and in particular a telegraph, projectors for a large screen located on the axes of a spherical segment (a1-b3), and a radio station, the masts of which rise above the monument. There is no need to point out the enormous possibilities for equipping and organizing these structures. The details of the design have not yet been specified, they can be discussed and worked out (luring subsequent elaboration of the monument’s interior.

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It is necessary to explain that according to the artist Tatlin”s conception, the glass structures should have vacuum walls (a thermos) which will make it easy to maintain a constant temperature within the edifice. The separate parts of the monument will be connected to one another and to the ground by means exclusively of complexly structured electrical elevators, adjusted to the differing rotation speeds of the structures. Such are the technical bases of the project. Continue reading

Karl Radek, Bolshevik revolutionary

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Karl Bernardovich Radek (thirty-five years old) could, as we used to say, only speak his own language — the accent he used to express himself in all the others was so incredibly bad. A Galician Jew, he had grown up in the Socialist movements of Galicia, Poland, Germany, and Russia, all at the same time. He was a sparkling writer, with an equal flair for synthesis and for sarcasm. Thin, rather small, nervous, full of anecdotes that often had a savage side to them, realistic to the point of cruelty, he had a beard growing in a fringe around his clean-shaven face, just like an old-time pirate. His features were irregular, and thick tortoiseshell spectacles ringed his myopic eyes. His walk, staccato gestures, prominent lips, and screwed-up face, every part of which was continually expressive, all had something monkey-like and comical about them.

— Victor Serge, Memoirs of a
Revolutionary (1947). Pg. 159.

Radek was of a different mould. He was a pupil not of Lenin but of Rosa Luxemburg, which meant that he was not used to submission and — that he was used to close contact with the Western labour movement. It was his profound knowledge of the latter, especially of German socialism, which gave him prestige. Altogether Radek was a man of political qualities. Together with his wit, which has won him international fame, he had immense powers of application and a real thirst for detail. He was not the sort of man to be satisfied either with theoretical generalizations such as Bukharin loved, or with rhetoric in the vein of Zinoviev. He was clever and thoroughly undogmatic. Already in 1919 he had attempted to establish contacts between the Soviet Union and big German industrialists, a task which, at that time, almost every other member of the party would have regarded as a defilement. He was a cynic. The one thing this brilliant man lacked was character, that deep-rooted moral balance which draws an undefinable line between what is right and what is wrong. Radek was too clever to be either heroic or even consistent.

— Franz Borkenau, World
Communism
(1939). Pg. 164.

Karl Radek: The confusion of styles?

Pierre Broué [John Archer] 
The German Revolution,
1917-1923 (1971/2005)
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Karl Radek was a unique character in the history of the Communist movement, and is a key figure for anyone wishing to study the first years of the Communist International. Despite being a prolific writer, today he is almost forgotten, but during the years following the Russian Revolution he was one of the most important leaders in the International, and was effectively its Secretary for some months between his release from prison in Germany and the Second Comintern Congress. Moreover, he was the mentor of the KPD until 1923, and was appointed by the ECCI to deal with “German questions” in the same way that Trotsky was assigned “French questions.” Recent studies by H. Schurer and Warren Lerner have perhaps opened the way for works devoted to him, and we must now hope that the numerous ‘Radek’ files in East Germany and the Soviet Union, access to which was refused to us, will be opened.

The best portrait of him is without doubt that from the brush of the German journalist Wilhelm Herzog in 1920:

Karl Radek…has been elected secretary of the Third Communist International. His lively and ever-active mind is feverishly at work. His brain, filled with German romanticism (and a touch of Polish Judaism), is rich in irony and energy. Every day he writes two editorials, one for Pravda and one for Izvestia, and often another text as well, which is transmitted by radio from Christiania. Every day, he is visited by a dozen delegates from other parts of the world. He advises and instructs. He presides at the meetings of the Third International, and takes part in the conferences of the Executive Committee, of the Central Committee of the Party and of numerous other bodies. He lectures at the Workers’ University and to the officers of the Red Army. He speaks at meetings and at congresses of the central and local Soviets. All this without ever being superficial or unreflective, but after solid preparation, as a very competent man, very serious but never lacking wit. He masters his problem, lays hold of it, explains it and analyses it. It is a feast to listen to him. He overflows with ideas and with a rare knowledge of men and things. He knows every date, every leader, and even every individual of any importance in the workers’ movement throughout the world. Hence an immense historical culture and a very clear knowledge of world political relations.

He has a sparkling style. Although, to be sure, he does not command Russian as if it were his native language, we admire his articles for their clarity and their striking imagery. His quicksilver mind reacts to all the concerns of human life, political and intellectual. In short, he is an exceptionally talented man, a born propagandist and an agitator whom nothing can restrain or stop. He knows no compromise when the problem is to influence the hostile or the still-indifferent world, to infect it and to impregnate it with the idea of the world revolution. With Bukharin, Osinsky, and others, he belongs to the younger generation of the Bolsheviks (that is, of the revolutionary Marxists). This extraordinary strategist of the class war, this dreaded terrorist, loves German literature; he knows Goethe, Heine, Kleist, Friedrich von Gentz and the romantics, Büchner and Grabbe, he loves Conrad Ferdinand Meyer, and quotes verses from Stefan Georg and Hugo von Hofmannsthal.[1]

This is a flattering portrait, but no doubt a truthful one, though perhaps it should be slightly filled out with a reference to his physical ugliness and his neglect of his dress. Count Kessler describes him as “something between Puck and Wolf, a bit of a street Arab…Mephisto.” “A cross between a professor and a bandit,” wrote the British spy-cum-diplomat, Bruce Lockhart. The man was attractive for his wit, the liveliness of his repartee, the sharp sense of  humor which he never forgot to use at his own expense, the breadth of his culture and intellectual curiosity, and in short, despite the aggressiveness of his manner of speaking, his graciousness, sensitivity and an undeniable vulnerability.

Radek on tour through Germany, caricature in Pravda 1920

First and foremost, Radek was a freelancer. He had his own distinct personality when he appeared in the German Social-Democratic movement. In fact, he had had some revolutionary experience, in a period when the leaders of the German Party had nothing in this field but what they had read about the Paris Commune or the revolutions of 1848. But Radek had hardly emigrated before he returned to Poland at the beginning of the upheavals in 1905, and had replaced Leo Jogiches before he was twenty years old as chief editor of the newspaper of the Polish Social Democrats. He then had experience of prison. He later settled in Germany, and won a reputation as a polemicist and theoretician by his attacks on Kautsky at the Copenhagen Congress of the Second International and in Die Neue Zeit. He specialized in studies of imperialism, and devoted himself to demonstrating that inter-imperialist rivalries would lead to a world war. He based upon this perspective his theory of world revolution — a theme dear to the Bolsheviks, but not familiar to the members of the SPD. His talent won him fame as a journalist, but he remained isolated in Germany, and increased his isolation still more by supporting the opposition in the Warsaw committee of the SDKPiL against Luxemburg and Jogiches. Continue reading