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Birthday > Earth Day: Happy 146th, Lenin!

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It’s that time of year again. As always, the birthday of Lenin is a more momentous occasion than the bourgeois holiday Earth Day. This last year has seen a spirited defense by John Bellamy Foster of his tedious Maoist snoozefests, Marx’s Ecology (2000) and The Ecological Rift (2011). Foster’s latest, on Marx and the Earth (2015), continues this vain attempt to “synthesize” Marxism with contemporary ecological thought, albeit slinging some well-deserved barbs toward environmentalist critics of Marx along the way. Several months ago I criticized the Epimetheanism, or at least the anti-Prometheanism, of Foster & co. But a more thoroughgoing polemic, written from an orthodox Trotskyist perspective, had already been published by the Sparts: “John Bellamy Foster & Co: ‘Ecosocialism’ against Marxism.” More measured and collegial, but no less incisive, was Steven Vogel’s review of the book in 2003 from a more Frankfurt School-inspired perspective.

Regardless, we proceed to the texts. I’ve appended several short texts by Christopher Read, Leon Trotsky, and Ulianov himself below. Plus more Lenin images than you can shake a fist at. Have some Lenin biographies, while you’re at it, too:

  1. Alfred Rosmer, Moscow under Lenin
  2. August H. Nimtz, Lenin’s Electoral Strategy from 1907 to the October Revolution of 1917: The Ballot, the Streets, or Both? (2014)
  3. August H. Nimtz, Lenin’s Electoral Strategy from Marx and Engels to 1905: The Ballot, the Streets, or Both? (2014)
  4. Carter Elwood, The Non-Geometric Lenin: Essays on the Development of the Bolshevik Party, 1910-1914
  5. Christopher Hill, Lenin and the Russian Revolution (1947)
  6. Christopher Read, Lenin: A Revolutionary Life (2005)
  7. Georg Lukács, Lenin: A Study of the Unity of His Thought (1924)
  8. Kevin Anderson, “Lenin, Hegel, and Western Marxism”
  9. Klara Zetkin, Reminiscences of Lenin: Dealing with His Views on the Position of Women and Other Questions (1925)
  10. Lars T. Lih, Lenin
  11. Moshe Lewin, Lenin’s Last Struggle (2005)
  12. Craig Nation, War on War: Lenin, the Zimmerwald Left, and the Origins of Communist Internationalism
  13. René Fülöp-Miller, Lenin and Gandhi (1927)
  14. Tamás Krausz, Reconstructing Lenin: An Intellectual Biography

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Lenin’s fiftieth birthday

Christopher Read
Lenin: A Revolutionary
Life (Routledge 2005)
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Lenin was the kind of person who would not have enjoyed surprise parties in his honor. On his fiftieth birthday he received many letters and telegrams of congratulation and, at a celebration on the following day, 23 April 1920, he thanked the organizers for sparing him congratulatory speeches. He refused a proposal to open a museum in his honor and confided to a colleague, M.S. Olminsky: “You have no idea how unpleasant I find the constant promotion of my person.” [Weber 169] He also described Kamenev’s proposal to collect and reprint Lenin’s works as “completely superfluous” and only changed his mind when he was asked if he preferred the young to read Menshevik and Economist authors instead.

Lenin Ленин Lenineunder-the-banner-of-lenin-to-the-second-five-year-plan Lenin Ленин Leninetumblr_l5dicuFvtK1qaz1ado1_1280

Vladimir Lenin at fifty

Leon Trotsky
Pravda No. 86
April 23, 1920
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Lenin’s internationalism needs no recommendation. It is best characterized by Lenin’s irreconcilable break, in the first days of the world war, with that counterfeit internationalism which reigned in the Second International. The official leaders of “Socialism” used the parliamentary tribune to reconcile the interests of the fatherland with the interests of mankind by way of abstract arguments in the spirit of the old cosmopolitans. In practice this led, as we know, to the support of the predatory fatherland by the proletarian forces.

Lenin’s internationalism is in no sense a formula for verbally reconciling nationalism with internationalism. It is a formula for international revolutionary action. The world’s territory in the clutches of the so-called civilized section of mankind is regarded as a unified arena where a gigantic struggle occurs, whose component elements are constituted by the individual peoples and their respective classes. No single major issue can be kept restricted within a national framework. Visible and invisible threads connect such an issue with dozens of events in all corners of the world. In the evaluation of international factors and forces Lenin is freer than anyone else from national prejudices.

Marx concluded that the philosophers had sufficiently interpreted the world and that the real task was to change it. But he, the pioneering genius, did not live to see it done. The transformation of the old world is now in full swing and Lenin is the foremost worker on this job. His internationalism is a practical appraisal plus a practical intervention into the march of historical events on a world scale and with worldwide aims. Russia and her fate is only a single element in this titanic historical struggle upon whose outcome hinges the fate of mankind.

Lenin’s internationalism needs no recommendation. But at the same time Lenin himself is profoundly national. His roots are deep in modern Russian history, he draws it up into himself, gives it its highest expression, and precisely in this way attains the highest levels of international action and world influence.

At first glance the characterization of Lenin as a “national” figure may seem surprising, but, in essence, this follows as a matter of course. To be able to lead such a revolution, without parallel in the history of peoples, as Russia is now living through, it is obviously necessary to have an indissoluble, organic bond with the main forces of the people’s life, a bond which springs from the deepest roots.

Lenin personifies the Russian proletariat, a young class, which politically is scarcely older than Lenin himself, but a class which is profoundly national, for recapitulated in it is the entire past development of Russia, in it lies Russia’s entire future, with it the Russian nation rises or falls. Freedom from routine and banality, freedom from imposture and convention, resoluteness of thought, audacity in action — an audacity which never turns into foolhardiness — this is what characterizes the Russian working class, and with it also Lenin.

The nature of the Russian proletariat, which has made it today the most important force of the world revolution, had been prepared beforehand by the entire course of Russian national history: the barbaric cruelty of the tsarist autocracy, the insignificance of the privileged classes, the feverish growth of capitalism fed by the lees of the world stock-market, the escheated character of the Russian bourgeoisie, their decadent ideology, their shoddy politics. Our “Third Estate” knew neither a Reformation nor a great revolution of their own and could never have known them. Therefore the revolutionary tasks of the Russian proletariat assumed a more all-embracing character. Our past history knows no Luther, no Thomas Münzer, no Mirabeau, no Danton, no Robespierre. Exactly for that reason the Russian proletariat has its Lenin. What was lost in way of tradition has been won in the sweep of the revolution.

Lenin mirrors the working class, not only in its proletarian present but also in its peasant past, still so recent. This most indisputable leader of the proletariat, not only outwardly resembles a peasant, but there is something inwardly in him strongly smacking of a peasant. Facing the Smolny stands the statue of the other great figure of the world proletariat: Karl Marx, on a stone pedestal in a black frock coat. Assuredly, this is a trifle, but it is impossible even to imagine Lenin putting on a black frock coat. Some portraits of Marx show him wearing a dress shirt against whose broad expanse something resembling a monocle dangles.

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Nikolai Sokolov, proposal for a resort hotel in Matsetsa (1928-1929)

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Spotted over at Togdazine, which translates roughly to Then Magazine. Check it out. It’s a great site.

Nikolai Sokolov (1904-1990) was a student at VKhUTEIN, the State Arts and Technical Institute, from which he graduated in 1930. A member of the Society of Modern Architects, or OSA, Sokolov served as an editor for the group’s journal Modern Architecture. Later he worked with the constructivist architect Moisei Ginzburg as part of Stroikom, the building commission within the state planning agency of the RSFSR, Gosplan.

He designed this hotel spa or resort for his final project in an architecture course taught by Aleksandr Vesnin.

BookScanStation-2013-02-24-08-12-40-PM0011 copy 2

Курсовой проект Николая Соколова «Курортной гостиницы в Мацесте», выполнен на архитектурном факультете ВХУТЕИН в мастерской А. Веснина. IV курс. 1928/29 учебный год.

Николай Соколов — (1904, Одесса — 1990, Москва) член Юго-Лефа. Окончил ВХУТЕИН в 1930 году. Член: ОСА, редколлегии журнала «Современная архитектура». Работал в Стройкоме РСФСР, Госплане РСФСР, Гипрогоре под руководством Моисея Гинзбурга.

Курсовойпроект Николая Соколова «Курортной гостиницы в Мацесте»

“Thus is conquered the whole of nature.” Cover sheet for the project.

«Так берите природу всем…». Вводный лист к проекту.

Генплан

General plan.

Генплан.

Индивидуальный домик. Фасад, планы, развертка «улицы»

Individual housing-unit [domik]. Façade, plans, elevation, “the street.”

Индивидуальный домик. Фасад, планы, развертка «улицы».

Фасад индивидуального домика

Left: Axonometric view of an individual housing-unit, and “street” perspective. Right: Façade of an individual housing-unit.

Слева: Аксонометрия индивидуального домика, перспектива «улицы». Справа: Фасад индивидуального домика.

Перспектива подземной «улицы»

Perspective of the subterranean “street.”

Перспектива подземной «улицы».

Общественный комплекс. Фабрика — кухня. Фасад, перспектива, разрез. Разрезы подземной «улицы»

Communal complex. Factory-kitchen. Façade, perspective, section. Underground “street” sections.

Общественный комплекс. Фабрика-кухня. Фасад, перспектива, разрез. Разрезы подземной «улицы».

Images courtesy the archives of the Shchusev Museum of Architecture.

Marxism and legal theory

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For Marx, law or right [Recht] would wither away with the shift to communism. Even among avowed Marxists, this sort of reification of the law is increasingly common. Domenico Losurdo, a Stalinist political philosopher, has abandoned the Marxist doctrine of the progressive dissolution of the state. If scholars like Losurdo feel Lenin was too “leftist” for upholding this principle, others find Lenin’s commentary on the character of the state too conservative or bound to Second International conceptions. My friend Pavel Minorski wondered how “the figure who most clearly exposed Social Democratic opportunism and provided the clearest statement of the need to smash the bourgeois state could then go on to write about how the dictatorship of the proletariat would be ‘the bourgeois state without the bourgeoisie’.”

Nevertheless, I think that Lenin’s line of reasoning was correct regarding “the bourgeois state without the bourgeoisie.” Marx talked about the persistence of bourgeois law or right [Recht] up to the advent of a higher form of communist society. From this conclusion it follows that the state administering legislation would be the Rechtstaat, i.e. the modern class state that emerged gradually out of the wreckage of the ancien régime (the Standestaat, which was based on unique privileges of special estates). Here is Lenin’s gloss on the passage by Marx in the Critique of the Gotha Program, which in turn appears in State and Revolution:

In its first phase, or first stage, communism cannot as yet be fully mature economically and entirely free from traditions or vestiges of capitalism. Hence the interesting phenomenon that communism in its first phase retains “the narrow horizon of bourgeois law”. Of course, bourgeois law in regard to the distribution of consumer goods inevitably presupposes the existence of the bourgeois state, for law is nothing without an apparatus capable of enforcing the observance of the rules of law. It follows that under communism there remains for a time not only bourgeois law, but even the bourgeois state, without the bourgeoisie!

This may sound like a paradox or simply a dialectical conundrum of which Marxism is often accused by people who have not taken the slightest trouble to study its extraordinarily profound content. But in fact, remnants of the old, surviving in the new, confront us in life at every step, both in nature and in society. And Marx did not arbitrarily insert a scrap of “bourgeois” law into communism, but indicated what is economically and politically inevitable in a society emerging out of the womb of capitalism.

Strictly speaking, there is a certain redundancy in the term “bourgeois right,” though it’s helpful to reiterate at times. “Right” itself is bourgeois, something universally possessed by free and equal citizens who have reached a certain age (some positive rights are reserved for adults, like voting or drinking or whatever). Classically, right would be opposed to privilege, explicitly tied to title or rank within a noble or priestly order. This is why those who reduce Marxism to “fighting for equal rights,” or for “human rights,” are so profoundly mistaken. Marxism aims at the transcendence of right altogether.

Marxist legal theorists debated many of these same issues in the first decade following the October Revolution. You can read a few exemplary pieces illustrating this below. What is perhaps most striking about these texts is the incredibly high level of debate, both the theoretical subtlety and practical urgency that saturate them. They are taken from an old book released by Johns Hopkins on Soviet Political Thought. Download the rest of them this link: Michael Jaworskyj, Soviet Political Thought: An Anthology (1967). Not only are they of merely historical interest, either. They have a very contemporary relevance as well, insofar as many seem to believe that Marxism is preoccupied chiefly with social justice, economic inequalities, and redistribution of wealth. Goikhbarg’s piece destroys these misconceptions.

Also see Evgenii Bronislavovich Pashukanis, The General Theory of Law and Marxism and Franz Neumann and Otto Kirchheimer, The Rule of Law under Siege: Selected Essays for more on Marxist theories of law.

the constitution

“Law and right are inherited like an eternal disease”

Pëtr Ivanovich Stuchka
October Upheaval and Proletarian
Dictatorship (Moscow, 1919)
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If, in considering the law, we have in mind only its bourgeois meaning, then we cannot speak of a proletarian law, for the goal of the socialist revolution is to abolish law and to replace it with a new socialist order. To a bourgeois legal theorist, the term “law” is indissolubly tied in with the idea of the state as an organ of protection and as an instrument of coercion in the hands of the ruling class. With the fall or rather the dying away of the state, law in the bourgeois meaning of the term also dies away. When we speak of a proletarian law, we have in mind law of the transition period, law in the period of the dictatorship of the proletariat, or law of a socialist society, law in a completely new meaning of the term. For, with the abolition of the state as an organ of oppression in the hands of one class or another, the relationships between men, the social order, will be regulated not by means of coercion but by means of the conscious good will of the workers, that is, the will of the entire new society.

In this respect the tasks of bourgeois revolutions were considerably easier than the task of a socialist revolution. Voltaire’s revolutionary statement is well known: “If you intend to have good laws, then burn the old and create new ones.” We know that this requirement was not fulfilled by any bourgeois upheaval, not even by the great French Revolution. The latter mercilessly burned feudal castles and the titles to these castles, liquidated privileges and the holders of these privileges, and replaced the feudal system with a bourgeois one. Notwithstanding, the oppression of man by man survived, and some old laws remained unburned and binding. The legal monument of the French Revolution — Napoleon’s Civil Code — came into being only ten years after the Revolution (1804), and only after the victory of the counterrevolution.

In one of his earlier writings (1843), Marx vividly outlined the basic difference between bourgeois and socialist revolutions: “A bourgeois revolution dissolves old feudal forms of organization through the political emancipation of independent persons, without tying and subordinating them to a new economic form… It divides the person into man and citizen, whereby all the socioeconomic relationships of citizens belong to the sphere of their private affairs which are of no interest to the state… Man appears to be leading a double life, a heavenly and an earthly life, in the political community, where he is a citizen, and in a bourgeois society, where he acts as a private person and either looks upon other men as means, or lowers himself to a means or a toy in the hands of others.” Private interests are indifferent, for, regardless of whether a man in bourgeois society is satisfied or hungry, whether he is physically fit or incapacitated, whether he has time to satisfy his spiritual needs, this is his private affair, the egoistic interest of each separate person, with which the state does not interfere. “The state can be turned into a free state without turning man into a free man.”

What the bourgeois revolutions did was merely to put into power a new class in place of the old one, or along with the old, and to change the form of the organization of state power. The mode of oppression was freely changed without changing the text of old laws. The continuity of law seems to be the essence of the stability of human society, which is based on the principle of exploitation of man by man. Thus, the laws of slaveholding Rome survived not only the feudal system but even all phases in the development of capitalism, imperialism included:

Es erben sich, Gesetz und Recht
Wie eine ewige Krankheit fort.1

Bourgeois revolution did not always adhere to Voltaire’s words; it did not burn old laws as resolutely as it should, and when it burned them it failed to eradicate them from the minds of the people. As pointed out by Renner, “The human mind is a reliable storehouse in which Moses’ stone tables with his commandments are as real as any recent decree issued by the government; in it the ancient historical elements are interwoven with contemporary elements into a single reality.” This is the source of all theories of the divine origin of such institutions as sacred property, the “inborn” character of class privileges, the “natural right” of the master to the services of the worker, etc.

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All in the family: Hendrik de Man and his nephew, Paul

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Texts by Paul de Man

  1. Aesthetic Ideology
  2. Allegories of Reading: Figural Language in Rousseau, Nietzsche, Rilke, and Proust
  3. Critical Writings, 1953-1978
  4. Notebooks
  5. Romanticism and Contemporary Criticism
  6. The Post-Romantic Predicament
  7. The Resistance to Theory

Texts on Paul de Man

  1. The Political Archive of Paul de Man: Property, Sovereignty, and the Theotropic
  2. Material Events: Paul de Man and the Afterlife of Theory

Texts by Hendrik de Man

  1. The Psychology of Marxian Socialism
  2. Beyond Marxism: Faith and Works

Texts on Hendrik de Man

  1. Zeev Sternhell, The Idealist Revision of Marxism: The Ethical Socialism of Henri De Man
  2. José Carlos Mariátegui, A Defense of Marxism

Texts on Paul and Hendrik de Man

  1. Dick Pels, The Intellectual as Stranger: Studies in Spokesmanship

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Hendrik and Paul de Man

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In a 1973 article on “Semiology and Rhetoric,” the literary theorist Paul de Man raised a question posed by Archie Bunker: “What’s the difference?” Bunker was of course the lovably racist protagonist of the popular sitcom All in the Family. Playing on the character’s last name, de Man therefore continued: “Suppose it is a de-bunker rather than a ‘Bunker,’ and a de-bunker of the arche (or origin), an archie Debunker such as Nietzsche or Derrida for instance, who asks the question ‘What is the difference?’ — and we cannot even tell from his grammar whether he ‘really’ wants to know ‘what’ difference is or is just telling us that we shouldn’t even try to find out.”

Deconstruction takes, or took, such punning deadly serious. One hesitates over the tense because, well, it’s unclear whether deconstruction is taken too seriously anymore. After all, the term is usually taken to derive from Martin Heidegger’s Destruktion, as Derrida made clear in a 1986 interview: “It was a kind of active translation that displaces somewhat the word Heidegger uses: Destruktion, the destruction of ontology, which also does not mean the annulment, the annihilation of ontology, but an analysis of the structure of traditional ontology.” (Later Derrida would trace the concept further back to the thought of another German named Martin: namely Luther, whose word destructio prefigured its contemporary use by several centuries. This is somewhat beside the point, however).

Paul de Man accusations leveled against him

Skeletons in the closet

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Ever since the publication of Victor Farías’ incendiary, if imperfect, 1985 exposé Heidegger and Nazism, the great German thinker has fallen into disrepute. Numerous titles were released in the wake of this bombshell, by scholars like Hans Sluga, Tom Rockmore, and Domenico Losurdo. Recently the discovery of the so-called Black Notebooks, which contain Heidegger’s lecture notes for 1933 up through 1935, has added to the mountain of evidence proving he was a committed fascist and virulent antisemite both in private and in public. Translation into English is slated to come out this year from Indiana University Press, but a lengthy commentary and introduction by Emmanuel Faye has been out since 2009.

Many of the criticisms made since Farías reignited the controversy have simply confirmed the judgment already passed on fundamental ontology by figures like Günther Anders and Theodor Adorno. As early as 1948, Anders accused Heidegger of nihilism: “He had no principle whatsoever, no social idea: nothing. When the trumpet of National Socialism started blaring into his moral vacuum, he became a Nazi.” In 1963, Adorno polemicized against The Jargon of Authenticity (by which he meant Heidegger’s philosophy). “Jargon even picks up banal [words], holds them high and bronzes them in the fascist manner which wisely mixes plebeian with elitist elements.”

Jean-Pierre Faye, father of Emmanuel, further implicated Heidegger’s French admirers in the camp of deconstruction already in the 1970s. Unlike Anders or Adorno, who primarily addressed a German and American readership, Faye extended his critique of Heideggerianism to the Francophone world. Loren Goldner, a left communist and outspoken opponent of poststructuralism, explained the substance of his critique in a review entitled “Jean-Pierre Faye’s Demolition of Derrida”:

[He] shows that the famous word Dekonstruktion was first used in a Nazi psychiatry journal edited by the cousin of Hermann Göring, and that the word Logozentrismus was coined (for denunciatory purposes) in the 1920s by the protofascist thinker Ludwig Klages. In short, sections of French and, more recently, American academic discourse in the “human sciences” have been dominated for decades by a terminology originating not in Heidegger but first of all in the writings of Nazi scribblers, recycled through Latin Quarter Heideggerians. Faye zeroes in with surgical skill on the evasions of those, particularly on the left, for whom the “greatest philosopher” of the century of Auschwitz happened to be — as a mere detail — a Nazi.

After 1933, under pressure from Nazi polemics, Heidegger began to characterize the prior Western metaphysical tradition as “nihilist” and worked out the whole analysis for which he became famous after 1945: the “fall” in the Western conception of Being after Parmenides and above all Aristotle, the essence of this fall in its modern development as the metaphysics of the “subject” theorized by Descartes, and the evolution of this subject up to its apotheosis in Nietzsche and the early Heidegger of Being and Time. Between 1933 and 1945, this diagnosis was applied to the decadent Western democracies overcome by the “internal greatness” of the National Socialist Movement; after 1945, Heidegger effortlessly transposed this framework to show nihilism culminating not in democracy but…in Nazism. In the 1945 “Letter on Humanism” in particular, Western humanism as a whole is assimilated to the metaphysics of this subject The new project, on the ruins of the Third Reich, was to overthrow the “Western humanism” that was responsible for Nazism! Thus the initial accommodation to Krieck and other party hacks, which produced the analysis in the first place, passed over to a “left” version in Paris, barely missing a step. The process, for a more American context, goes from Krieck to Heidegger to Derrida to the postmodern minions of the Modern Language Association. The “oscillation” that Faye demonstrated for the 1890-1933 period in Langages totalitaires has its extension in the contemporary deconstructionists of the “human sciences,” perhaps summarized most succinctly in Lyotard’s 1988 call to donner droit de cite a l’inhumain.

Faye is tracking the oscillation whereby, in 1987-1988, it became possible for Derrida, Lyotard, Lacoue-Labarthe, and others, to say, in effect: Heidegger, the Nazi “as a detail,” by his unmasking of the nihilistic “metaphysics of the subject” responsible for Nazism, was in effect the real anti-Nazi, whereas all those who, in 1933-1945 (or, by extension, today) opposed and continue to oppose fascism, racism, and antisemitism from some humanistic conviction, whether liberal or socialist, referring ultimately to the “metaphysics of the subject”-such people were and are in effect “complicit” with fascism. Thus the calls for an “inhuman” thought.

Paul de Man’s reputation in the meanwhile has suffered a fate similar to that of Heidegger. Shortly after his death in 1983, it was revealed that he enthusiastically welcomed the Nazi occupation of Belgium. Between 1940 and 1942, de Man contributed a number of articles to Le Soir while the newspaper was under the management of fascist ideologues. One of the articles, on “The Jews and Contemporary European Literature,” was extremely antisemitic. Coming fresh on the heels of the Heidegger controversy, defenders of deconstruction were now faced with another scandal. De Man’s friends and co-thinkers rallied to defend his memory, organizing conferences in the vain hope that his legacy might yet be salvaged. Though several essay collections resulted from this engagement, featuring heavyweights from across the theoretical spectrum, de Man’s writings are no longer fashionable. Not the way they once were.

DoubleLifeofPauldeMan

Last year, though, Evelyn Barish released a biography detailing The Double-Life of Paul de Man. Suzanne Gordon, one of his former students, wrote a piece for Jacobin in which she denounced de Man as “a Nazi collaborator, embezzler, bigamist, serial deadbeat, and fugitive from justice in Belgium.” Here is not the place to wag fingers at de Man’s extramarital affairs, lackluster parenting skills, or casual misappropriations. While public interest in these aspects of his life is perhaps to be expected, as is its craving for salacious details, a lot of the information in Barish’s book is pure tabloid. Rumors and gossip do not merit serious consideration in the evaluation of a person’s work. Biography is not destiny.

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In memoriam: Zaha Hadid, 1950-2016

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Zaha Hadid passed away unexpectedly today, suffering a heart attack in a Miami hospital where she was being treated for bronchitis. She was 65.

It would be disingenuous for me to claim I was an admirer of Hadid’s oeuvre. Doubtless she was an important figure within contemporary architecture, and in many ways a pioneer. As an Iraqi-born woman working in a field dominated by white men, Hadid overcame numerous obstacles to achieve rare prominence among her peers. Other women had enjoyed moderate success as builders, like the urban planner Catherine Bauer and the architect Eileen Gray, but never won the accolades Hadid did in her lifetime. Non-Western architects have likewise made only modest headway in the modern period. Gabriel Guévrékian, of Persian-Armenian origin, was one of the founders of CIAM in 1928, while the Chinese-born architect I.M. Pei perhaps alone can claim to rival Hadid’s accomplishments.

To be perfectly honest, I was much more torn up about the 2012 death of Lebbeus Woods. But he’d been sick for a long time. Woods was something of a mentor to Hadid when she was first starting out in the late 1970s and early 1980s. Her early architectural delineations — or “paintings,” as she called them — were often quite impressive on a formal level. She worked in much the same speculative vein as Woods or Daniel Libeskind. Incidentally, before he died, Woods devoted a short essay split up into three posts on his blog, all of which analyzed Hadid’s drawings:

Hadid’s work of the eighties was paradoxical. From one perspective, it seemed to be a postmodern effort to strike out in a new direction by appropriating the tectonic languages of an earlier epoch — notably Russian avant-garde at the time of the Revolution — but in a purely visual, imagistic way: the political and social baggage had been discarded. This gave her work an uncanny effect. The drawings and architecture they depicted were powerfully asserting something, but just what the something was, in traditional terms, was unclear. However, from another perspective this work seemed strongly rooted in modernist ideals: its obvious mission was to reform the world through architecture. Such an all-encompassing vision had not been seen since the 1920s. Zaha alluded to this when she spoke about “the unfinished project” of modernism that she clearly saw her work carrying forward. With this attitude she fell into the anti-postmodern (hardly popular) camp championed by Jürgen Habermas. Understandably, people were confused about what to think, but one thing was certain: what they saw looked amazing, fresh and original, and was an instant sensation.

Studying the drawings from this period, we find that fragmentation is the key. Animated bits and pieces of buildings and landscapes fly through the air. The world is changing. It breaks up, scatters, and reassembles in unexpectedly new, yet uncannily familiar forms. These are the forms of buildings, of cities, places we are meant to inhabit, clearly in some new ways, though we are never told how. We must be clever enough, or inventive enough, to figure it out for ourselves — the architect gives no explicit instructions, except in the drawings. Maybe we, too, must psychically fragment, scatter, and reassemble in unexpected new configurations of thinking and living. Or, maybe the world, in its turbulence and unpredictability, has already pushed us in this direction.

Like Libeskind, but unlike Woods, Hadid eventually transitioned from paper architecture to the realm of built objects. Receiving major commissions around the world, she began to cultivate a complex, curvilinear, and organic style. Patrik Schumacher, her theoretical spokesperson, called it “parametricism.” Aided by new digital programs, which could calculate the area of contoured surfaces, Hadid developed a biomorphic expressionism that became her trademark. My opinion of these later structures is considerably lower than it is of her earlier, more suprematist-inflected buildings. I quite like the Vitra Fire Station in Weil am Rhein, as well as the Rosenthal Center in Cincinnati. Essentially I agree with Woods here: “In one sense, [computer-aided design] liberated Zaha, enabling her to create the unprecedented forms that have, by the present day, become her signature. In another, it brought an end to a certain intimacy and feel of tentative, almost hesitant expectancy, in her drawings and designs, that was part of the intense excitement they generated.”

Below I am appending some extremely hi-res images of Zaha’s drawings. Longish essays by Hal Foster and Gevork Hartoonian, both insightful and making similar points about the prioritization of image and spectacle over building and tectonics, also follow.

Hadid, Zaha Title Vitra Fire Station Date 1994 Location Weil am Rhein, Baden-Wurttemberg, Germany Description aerial view; landscape painting 1 Hadid, Zaha Title Vitra Fire Station Date 1994 Location Weil am Rhein, Baden-Wurttemberg, Germany Description longitudinal section

Neo avant-garde gestures

Hal Foster
The Art-Architecture
Complex (2012)
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In the last decade, Zaha Hadid has advanced from a vanguard figure in architecture schools to a celebrity architect with credibility enough in boardrooms to have several big buildings completed and several other projects launched. This upswing began in 2003 when her Contemporary Arts Center in Cincinnati, her first structure in the United States, opened to wide acclaim, and it was confirmed in 2005 when her BMW plant center in Leipzig, which proved her ability to design for industry, was completed. In 2004 Hadid won the prestigious Pritzker Architecture Prize — the first woman to be so honored — and in 2006 she received a retrospective of thirty years of her work (paintings as well as designs) at the Guggenheim Museum. More recently, her Museum of XXI Arts (MAXXI) in Rome appeared to warm reviews in 2009, and there are other large commissions in the works, including office buildings and cultural complexes in the Middle East, an opera house in Guangzhou, and an aquatic center for the 2012 Olympics in London. Hadid can no longer be dismissed, as her critics were once wont to do, as a woman who stood out in a male profession on account of her brassy personality and exotic background (she was born in Baghdad in 1950). Indeed, for her proponents Hadid has done more than any of her peers to rethink old representational modes of architecture and to exploit its new digital technologies. It is this view I consider here, with special attention to her recourse to select moments in modernist art and architecture.

For several years after her 1977 graduation from the Architectural Association (AA) in London, Hadid had little work of her own. In this lull she turned to modernist painting, in particular the Suprematist abstraction of Kasimir Malevich. Hadid explored this work in painting of her own, which she regarded primarily as a way not only to develop an abstract language for her architectural practice, but also to render the standard conventions of architectural imaging (plan, elevation, perspective, and axonometric projection) more dynamic than they usually appear. Already in her AA thesis, an unlikely scheme for a hotel complex on a hypothetical Thames bridge, Hadid adapted the idiom of the Malevich “Arkhitektons,” plaster models, built up in geometric blocks, that he proposed in the middle 1920s for a monumental architecture in the young Soviet Union. This was only an initial gesture, but it was not an auspicious one, for, however enlivened with Suprematist red and black, the Arkhitekton blocks remain static in her adaptation. Nevertheless, her project was shaped: “I felt we must reinvestigate the aborted and untested experiments of modernism,” Hadid wrote in retrospect, “not to resurrect them but to unveil new fields of building.”1 Continue reading →

Louis Lozowick, communist lithographer (1892-1973)

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A few years back the excellent art and architecture website SOCKS Studio made a post featuring “The diesel era lithographs of Louis Lozowick, 1920s-1940s.” They included some of his biographical details along with examples of his work. I would like to expand briefly on Lozowick’s role in disseminating principles of the Soviet avant-garde as well as his political involvement in American communism during the interwar period.

Lozowick was a Russian-Jewish émigré who spent the majority of his life in the United States. Born in 1892 outside Kiev, then part of the Ukrainian province in the Russian Empire, Lozowick fled the pogroms that followed the 1905 Revolution by moving to New York in 1906. He continued his training as an artist and worked as an illustrator until the Bolshevik Revolution of October 1917, whereupon he renewed his commitment to Marxist politics.

561a3ec445ca4e06d65d30c8efb13cc1Louis Lozowick, Modern Russian Art

Frequently contributing to such periodicals as Broom and Transition, Lozowick later helped found the journal New Masses in 1926. One year after the infamous trial of the Italian immigrants Sacco and Vanzetti, Lozowick designed a very constructivist cover to commemorate their martyrdom. Prior to that, he’d already begun a series of lithographs portraying major American industrial cities in bold, angular contrasts. Each painting was given simply the name of the city portrayed as its title — New York, Chicago, Pittsburgh, Cleveland, Detroit, etc. — and were widely reprinted.

Sometimes he would paint versions of these stylized cityscapes. His choice of colors was sometimes reminiscent of other artists in the Precisionist movement, as it came to be called, as well as European and Soviet artists. Compare, for example, his piece Cleveland (1927) with the Industrial Scene (1930) rendered by his fellow precisionist painter Miklos Suba. Or else view Lozowick’s Red Circle (1924) alongside Victor Servranckx’s Factory (1922). Max Thalmann’s woodcut of a Manhattan cross-street from 1925, a narrow valley flanked by towering skyscrapers on either side, presages Lozowick’s Bulloch Hall ten years later. Likewise, though left uncolored, Lozowick’s Corner of a Steel Mill resembles a colorful fantasy by Iakov Chernikhov. During a trip to Kyrgyzstan, Lozowick depicted the construction underway in Soviet Central Asia in a manner akin to his depictions of industrialism in the US. The similarities are everywhere striking.

After the atrocities of Nazi Germany became known in 1945, Lozowick joined many of his peers in reluctantly supporting Zionism. Heartbroken by the loss of so many of his friends and relatives, he donated to various charities for Israel. For this, he would be listed in a pamphlet circulated by the virulently anticommunist and antisemitic Senator Jack Tenney, The Zionist Network. Lozowick’s memoirs were gathered and posthumously published as Survivor from a Dead Age. If anyone has a copy and would like to scan and upload it, I’d be very grateful.

Below you can read “A Note on Modern Russian Art,” written by Lozowick for Broom in 1923. You can also scroll through a gallery of his lithographs by clicking on any of the icons that follow.

A note on modern Russian art

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It is well the devil can quote Scripture: we know thereby the character of Satan, even if we are in the dark as to Holy Writ. St. Paul of Aix, St. Apollinarius of Paris, Revelation, Apocrypha and other books in the Bible of modern art have been quoted so copiously and interpreted so liberally by the modern Russian artists, in their fight against orthodoxy, that their own identity is never left in doubt.

The advent of the Soviets resulted in a heightened productivity among modern Russian artists. Whatever state patronage of the arts may be worth in general, it is undeniable that in Russia the Soviets gave a great impetus to artistic effort by inaugurating a program of reform on a scale hardly paralleled in any other modern State. They abolished the old Imperial Academy, organized a Free College of Artists in its place, opened new free art schools, established Museums of modern art (Museums of Artistic Culture) organized popular lectures and traveling exhibitions, supported the artists, bought their works, employed them in staging popular revolutionary festivals, issued new art publications — in a word did everything to encourage the growth of art and to bring it nearer to the masses. Continue reading →

Religion and revolution: Robespierre’s cult of the Supreme Being

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A response to
Harrison Fluss
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In a recent article written for Jacobin, Harrison Fluss revisits the civic religion of the Supreme Being enshrined by Maximilien Robespierre 18 Floréal Year II of the Republic (7 May 1794). Tracing its conceptual origins back to the philosophical discourses of Jean-Jacques Rousseau and, somewhat less plausibly, the metaphysical system of Baruch Spinoza, the author argues this bygone historical moment still has much to teach the present. He suggests that Spinoza, Rousseau, and Robespierre “provide a solution for the kind of relationship between church and state needed not only for an emancipatory movement, but for the emancipated society of the future.”

Several things are already implied by this statement. First, religious institutions — i.e., the church — will by no means be done away with in the future society Fluss envisions. No less scandalously, at least from a Marxist perspective, secular institutions — i.e., the state — will also continue to exist. Both conclusions flow from the assertion that a relationship between church and state will always be necessary, since both must still be around in order for them to relate. Even after the material conditions which necessitate spiritual and temporal power have been superseded, in other words, Fluss seems to believe they will persist in every time and in every clime. Religio perennis lurks behind all the superficial changes in mythology over the centuries, expressing an immutable desire. Likewise the need for a repressive apparatus, the administrative machinery of government, never fully fades.

Whether or not this is actually the case, others have often held quite the opposite view of humanity’s prospects moving forward through history. Karl Marx and Friedrich Engels, for example, scolded their Hegelian colleague, Georg Daumer, for promoting a new pantheistic creed. “It is clear that with every great historical upheaval of social conditions the outlooks and ideas of men, and consequently their religious ideas, are revolutionized,” they wrote in their joint review of Daumer’s 1850 book Die Religion des Neuen Weltalters. “The difference between the present upheaval and all previous ones consists in the fact that man has at last figured out the secret of this process of historical upheaval and hence, instead of once again exalting this [process] in the rapturous form of a new religion, divests himself of all religion.” Decades later, Engels famously maintained that the proletariat, in the course of its transition to socialism, eventually “abolishes itself as proletariat, abolishes all class distinctions and class antagonisms, and abolishes the state as state.” After a certain point, the state simply dies off or withers away [stirbt ab].

For Marx and Engels, then, a society in which the state endures — much less the church — cannot be called emancipated.

религия-яд береги ребят

Perhaps this is too literal, though, reading too much into too little. Here is not the place for biblical exegesis, at any rate, searching for answers in “sacred” texts. Besides, by focusing on abstruse theoretical matters like the withering away [Absterben] of church and state, one avoids the eminently practical issue Fluss was trying to address. Over and above such heady speculations, then, the historical analogy he offers in his article may be scrutinized to see if it is apt. Can Robespierre’s Cult of the Supreme Being truly serve as a model for resolving the antinomy of church and state today? Continue reading →

Remembering revisionism: The reform vs. revolution debate in Second International Marxism

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The so-called “revisionism” debate represented the greatest trial of Second International Marxism prior to its crisis in August 1914 and subsequent collapse. Its result was probably the most important theoretical outcome of the period, whatever practical disagreements remained hidden beneath the unified doctrine of Marxian orthodoxy (only to be exposed later on). Eduard Bernstein, the executor of Engels’ estate and a longtime exponent of the theories of Marx, had come to have doubts about the revolutionary predictions made by his recently departed mentors from the 1840s up through the 1860s. From about the middle of the 1890s to the turn of the century, Bernstein would wage a fierce polemic against those aspects of Marxist theory he considered falsified or outdated. Namely, the idea of a violent revolution leading to the seizure of state power, which he felt was founded on the residual idealism inherited by Marx and Engels via the Hegelian dialectic.

Several texts are helpful in understanding the origins, development, and consequences of the revisionist controversy. A great deal of it centered on the famous question: “Reform or revolution?” (I’ve already expressed my opinion of this dichotomy, along with a third term of “resistance,” in the past). But other issues were necessarily drawn into it as well, such as the notion of the progressive immiseration or pauperization of the masses culminating in a breakdown or collapse [Zusammenbruch], as well as problems of Marxist methodology mentioned above. The most comprehensive survey of this struggle within the party, by far, is the collection edited by H. and J.M. Tudor. Preconditions of Socialism by Bernstein, which condensed and systematized his arguments over the two preceding years, is also a crucial work. Last but not least, when it comes to primary documents, there is Rosa Luxemburg’s outstanding Reform or Revolution? (1898). What is to be Done?, Lenin’s well-known diatribe against the economists, can be seen — and indeed was seen by Lenin himself — as an echo of the revisionism debate in the Russian context.

You can download these three primary sources, translated into English, by clicking below:

Secondary sources are always helpful, too, so here are some that might aid readers in their effort to understand the significance of this dispute. Here are some good ones:

Below you will find a remarkable essay by the Italian Marxist Lucio Colletti on “Bernstein and the Marxism of the Second International.” Frankly, it surprised me, given Colletti’s reputation as a staunch anti-Hegelian. Readers of this blog will know that I am above all sympathetic to the Hegelian Marxist reading that emerged around Lenin right before the war and continued by Georg Lukács and Karl Korsch after the war. In this essay, Colletti is deeply critical of his former master Galvano Della Volpe, and finds himself in agreement with many things Lukács wrote during the 1920s and Korsch wrote during the 1930s (I find Korsch had already declined by this point, but he still had the occasional insight). Colletti also makes use of an Hegelian metaphor in explaining the way labor-time “congeals” in Marx’s account of the commodity. He discusses, moreover, the writings of Luxemburg and Preobrazhenskii — left-wingers within the Second and Third Internationals, respectively. Moishe Postone even considers Colletti’s insights in this essay quite valuable: “Like Isaak Rubin, Colletti maintains that what has rarely been understood is that Marx’s theory of value is identical to his theory of the fetish. What must be explained is why the product of labor assumes the form of the commodity and why, therefore, human labor appears as a value of things…Colletti’s argument parallels some aspects of that developed in this work, [although] his critique remains one of the mode of distribution.” The argument Colletti builds on the basis of abstract labor and its relation to fetishism and the value-form helps to explain the revisionism debate very well.

A couple words about the aftermath of the revisionism debate, specifically with regard to the way many matters were left unsettled. Karl Korsch explained admirably in Marxism and Philosophy how its apparent resolution in favor of revolutionism masked deeper divisions which persisted up to World War I:

At the beginning of the twentieth century, the long period of purely evolutionary development of capitalism came to an end, and a new epoch of revolutionary struggle began. Because of this change in the practical conditions of class struggle, there were increasing signs that Marxist theory had entered a critical phase. It became obvious that the extraordinarily banal and rudimentary vulgar Marxism of the epigones had an extremely inadequate awareness of even the totality of its own problems, let alone any definite positions on a whole range of questions outside them. The crisis of Marxist theory showed itself most clearly in the problem of the attitude of social revolution towards the State. This major issue had never been seriously posed in practice since the defeat of the first proletarian revolutionary movement in 1848, and the repression of the revolt of the Commune of 1871. It was put concretely on the agenda once again by the World War, the first and second Russian Revolutions of 1917, and the collapse of the Central Powers in 1918. It now became clear that there was no unanimity whatever within the camp of Marxism on such major issues of transition and goal as the “seizure of State power by the proletariat,” the “dictatorship of the proletariat,” and the final “withering away of the State” in communist society. On the contrary, no sooner were all these questions posed in a concrete and unavoidable manner, than there emerged at least three different theoretical positions on them, all of which claimed to be Marxist. Yet in the prewar period, the most prominent representatives of these three tendencies — respectively Renner, Kautsky, and Lenin — had not only been regarded as Marxists but as orthodox Marxists. For some decades there had been an apparent crisis in the camp of the Social Democrat parties and trade unions of the Second International; this took the shape of a conflict between orthodox Marxism and revisionism. But with the emergence of different socialist tendencies over these new questions, it became clear that this apparent crisis was only a provisional and illusory version of a much deeper rift that ran through the orthodox Marxist front itself. On one side of this rift, there appeared Marxist neo-reformism which soon more or less amalgamated with the earlier revisionism. On the other side, the theoretical representatives of a new revolutionary proletarian party unleashed a struggle against both the old reformism of the revisionists and the new reformism of the “center,” under the battle-cry of restoring pure or revolutionary Marxism. This crisis erupted within the Marxist camp at the outbreak of the World War.

Of course, there had been developments in the meantime — especially after 1909 — that should have been recognized internationally and acted upon (at the very least) nationally. Lukács explained in an article I posted previously the rapprochement between Kautsky and Bernstein around 1910. Even Lenin was unaware of the depths to which the German party had sunk. Trotsky recalled: “Rosa Luxemburg did not pose the question of the struggle against centrism with the requisite completeness. Lenin’s position was entirely superior in this respect. But between October 1916, when Lenin wrote about the Junius pamphlet, and 1903, when Bolshevism had its inception, there is a lapse of thirteen years; in the course of the major part of this period Rosa  was to be found in opposition to the Kautsky and Bebel Central Committee, and her fight against the formalistic, pedantic, and rotten-at-the-core ‘radicalism’ of Kautsky took on an ever increasingly sharp character. Up until 1914, Lenin did not participate in this fight and did not support Luxemburg. Passionately absorbed in Russian affairs, he preserved extreme caution in international matters. In Lenin’s eyes Bebel and Kautsky stood immeasurably higher as revolutionists than in the eyes of Luxemburg, who observed them at closer range, in action, and who was much more directly subjected to the atmosphere of German politics.”

Nevertheless, despite the inadequacies of the revisionism controversy in this connection, its official revolutionary policy remains an important legacy. Of course, in the absence of a mass movement, the existence of which Luxemburg, Kautsky, and Bernstein took more or less for granted, the question “reform or revolution?” is purely hypothetical today. Reform is unlikely to come about without at least the plausible threat of revolutionary upheaval. Bourgeois parties like the Democrats in the US can barely tolerate a soft Social Democrat like Sanders running in its primary. My earnest hope is that these questions will become less abstract given time, with the increase of an independent proletarian movement in the core capitalist countries.

Erinnerungskarte mit den Mitgliedern der sozialdemokratischen Reichstagsfraktion, 1890

Bernstein and the Marxism
of the Second International

Lucio Colletti
Ideology and
Society (1969)
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Engels’ “political testament”
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In the introduction he wrote for the first reprinting of The Class Struggles in France, in March 1895 — only a few months before his death — Engels observes that the chief error made by Marx and himself at the time of the 1848 revolution was that they had treated the European situation as ripe for socialist transformation:

History has proved us, and all those who thought like us, wrong. It has made clear that the state of economic development on the continent at that time was not by a long way ripe for the elimination of capitalist production; it has proved this by the economic revolution, which, since 1848, has seized the whole of the continent… and has made Germany positively an industrial country of the first rank.1

According to Engels, this error of judgment concerning the real level of capitalist development in 1848 was to a considerable extent matched by a mistaken political conception that he and Marx had derived from preceding revolutionary experience, and particularly that of France: the idea of revolution as the action of a minority. “It was… natural and unavoidable that our conceptions of the nature and course of the “social” revolution proclaimed in Paris in February 1848, of the revolution of the proletariat, should be strongly colored by memories of the prototypes of 1789 and 1830.” While “all revolutions up to the present day have resulted in the displacement of one definite class rule by another,” “all ruling classes up to now have been only small minorities in relation to the ruled mass of the people”; hence, “the common form of all these revolutions was that they were minority revolutions. Even when the majority took part, it did so — whether wittingly or not — only in the service of the minority; but because of this, or simply because of the passive, unresisting attitude of the majority, this minority acquired the appearance of being the representative of the whole people.”

The undue extension of this character of preceding revolutions to “the struggle of the proletariat for its emancipation” had now been sharply contradicted by history. History “has done even more: it has not merely dispelled the erroneous notions we then held; it has also completely transformed the conditions under which the proletariat has to fight. The mode of struggle of 1848 is today obsolete in every respect, and this is a point which deserves closer examination on the present occasion.”

Continue reading →

Albert Mathiez on Robespierre and the cult of the Supreme Being

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Jacobin recently published an article by Harrison Fluss about the Robespierrist Cult of the Supreme Being, instituted 1794. An okay article, overall, useful for sharing an obscure bit of revolutionary history (if for no other reason). The piece is marred by several historical inaccuracies and theoretical assumptions, which I address in a piece that is forthcoming on a couple of websites. Bhaskar Sunkara, editor of Jacobin, informed me that Fluss’ essay was a bit of a departure from the stuff they usually publish, so they weren’t planning on running a response.

In any case, one of the main historiographical controversies I touch on toward the end of my response is the dispute between François-Alphonse Aulard and his former pupil Albert Mathiez. Both men were partisans of the French Revolution, defenders of its legacy, but where the former was more of an historian of the popular movement (an historian “from below,” as they say) the latter was more an historian of the revolutionary government (an historian “from above”). Mathiez is a bit blinded, at times, by his unwavering devotion to Robespierre, but he is right that Aulard unfairly adopts some of the Thermidorian rhetoric regarding the Incorruptible’s private ambitions to dictatorship, etc. He never provides an adequate response to Aulard’s central contention, however, that Robespierre counterposed his own Cult of the Supreme Being to the Cult of Reason proposed by Hébert. Nevertheless Mathiez raises a number of pertinent points here, in his usual lively polemical style.

Evaluations, overviews, and synopses of this crucial conflict of interpretations between Mathiez and Aulard are almost ubiquitous in the literature on this subject. Ferenc Fehér, Arno Mayer, R.R. Palmer, and Albert Soboul all dedicate several pages to an assessment of the debate. So I was somewhat flabbergasted to see it wasn’t mentioned at all by Fluss in his article. It is not a minor omission, especially if it concerns Robespierre and the Hébertists. The scholars Fluss cites instead are Lewis Feuer and Nick Nesbitt. While Feuer’s book on Spinoza and the Rise of Liberalism is an otherwise excellent text, he’s mistaken to see a Spinozist influence in Robespierre’s doctrine of the Supreme Being. Robespierre insisted on the immortality of the soul, something Spinoza explicitly denied. Feuer admits as much: “Spinoza…held to a view which was tantamount to a denial of personal immortality.” Indeed, this was ostensibly the reason he was excommunicated from Amsterdam’s Jewish quarter in 1656. Nesbitt, whose book Caribbean Critique I have read (despite Fluss’ allegations to the contrary) and whose name Fluss seems unable to spell (“Nisbett”), nowhere argues that Spinoza was a source of the civic religion proposed by Rousseau and actualized, albeit briefly, by Robespierre. Paul Vernière is the classical source of this line of inquiry. Machiavelli’s Discourses on Livy clearly would have been a more direct influence on Rousseau, who Robespierre took this idea from, particularly the chapters dealing with Roman religion. It surprises me that Fluss would be so enthusiastic about Robespierre’s Supreme Being, in any case, seeing as his philosophical master Hegel referred to it derisively in the Phenomenology (§586) as “the exhalation of a stale gas, of the vacuous l’Être Suprême.”

Anyway, Mathiez is an interesting character, a self-styled Jacobin and Robespierrist who, despite his chauvinist support of France during World War I, later sympathized with the Bolsheviks in Russia. There’s a lot of language praising the Jacobins’ patriotism, their love of Fatherland, etc. Below are some images of the Festival of the Supreme Being from the period, followed by the text. You can enlarge them and scroll through by clicking on them. Enjoy!

Robespierre and the cult
of the Supreme Being

Albert Mathiez
Annales révolutionnaires
April-June 1910
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The figure of Robespierre has been so misrepresented during the last twenty years, even by republican historians, that to talk of the Incorruptible’s religious ideas nowadays may seem a rash undertaking.

Robespierre, it is proclaimed, was a narrow intelligence, a man of the ancien régime, a coldly ambitious nature who desired to reign over France by imposing upon the country, through the Terror, a counterfeit Catholicism, a deism glorified into a religion of State.

I cannot hope to study here the whole religious policy of Robespierre backed up by the documents and proofs.

It must suffice to choose one example; to examine precisely what part was played by Robespierre in the establishment of the Cult of the Supreme Being: especially since this is the usual butt of all his detractors.

What do the republican historians hostile to Robespierre say? They contrast the Cult of the Supreme Being with the Cult of Reason. The Cult of Reason, which they praise unreservedly, was, according to them, the Hébertist party’s own creation. It was, they say, a pantheistic or even atheistic cult, a means of intellectual emancipation. The Cult of the Supreme Being, on the contrary, they allege to have been invented by Robespierre, in all its details, for the satisfaction of his unbridled ambitions and mystical passions. It was, they say, an attempt at political enslavement and intellectual reaction.

Now, however generally accepted this contrast between the two revolutionary cults may be, it is nonetheless false. Far from having been the invention of a few men, Chaumette, Fouché, Hébert, and Cloots, or even of a party, the Cult of Reason was merely the culminating point in a series of civic festivals, the origin of which goes back to the great Feast of the Federation of July 14, 1790.1 The Festival of Reason resembled all the preceding ones. The same odes were sung, the same processions went through their evolutions, the same patriotic emotion stirred men’s hearts at the sight of the same republican symbols. The new feature of the 20th Brumaire, Year II, the day on which the Commune and the Convention glorified Reason in Notre-Dame de Paris, was not even the place chosen for the ceremony — a cathedral — for churches had already, witnessed similar scenes beneath their vaulted roofs. The new feature was this: that the fall of constitutional Catholicism, the secularization of the churches, and the abdication of the priests coincided with this festival.

But even the overthrow of the constitutional Church cannot be ascribed to the Hébertist party alone, for the Girondins themselves, such as Pierre Manuel, Guadet, and Vergniaud, had worked for it energetically since the days of the Legislative Assembly.

Nor was the solemn abdication of the Archbishop of Paris, Gobel, which gave an impulse to the dechristianizing movement, exclusively the work of the Hébertists; for it arose from the initiative of Pereira, Proli, and their friends, the party of the Enragés [extremists] which had its center in the people’s societies in the sections, and caused the Commune and Convention a moment’s alarm; and the initiative of the people’s societies was seconded by some notoriously moderate men, such as Thuriot, Basire, and Chabot,2 The truth is that the Hébertists, Chaumette, Cloots, and Hébert were merely falling into line with the obscure patriots of the sections, the nameless crowd of sans-culottes in the outlying parts of Paris. Continue reading →

Lenin and David Bowie

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David Bowie has died. In tribute, I’m posting some portions of the second chapter of Agata Pyzik’s excellent book Poor but Sexy, which I reviewed for the Los Angeles Review of Books about a year ago. You should definitely pick it up if you haven’t already. To complement it, I’m including some photos of Bowie in Moscow and around the Eastern Bloc.

A word about Bowie’s flirtation with fascist symbolism during the 1970s: Quite clearly it was a deliberate aesthetic provocation meant to shock the public, part of his Thin White Duke persona. Same goes with that Playboy interview: he was coked out of his mind, responding to decades of British postwar malaise. Bowie also made use of communist, East European, and avant-garde symbolism around this time. Not trying to make excuses for the guy, just pointing out that this part of rock’n’roll’s broader obsession with totalitarianism during this period.

Either way, don’t expect sound politics from celebrities. Lemmy also liked to collect fascoid paraphernalia, as many have pointed out. He was a great musician and artist all the same. Regarding Bowie’s sexual improprieties, allegedly sleeping with Lori Maddox when she was seventeen and he was in his early twenties (as part of a ménage à trois with another man), again I am not interested in his private life. Picasso slept with younger women in Paris, but this hardly makes him less of a painter. Caravaggio murdered a couple people in cold blood, and he is similarly undiminished.

Surely no one will fault us for mourning Bowie’s death simply because he did not make great contributions to Marxist theory.

Ashes and brocade

Berlinism, Bowie, post punk,
new romantics and pop culture
during the second Cold War
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Had to get the train
from Potsdamer Platz
You never knew that I could do that
Just walking the dead
a man lost in time
Twenty thousand people cross Bösebrücke
fingers are crossed just in case
where are we now?

— David Bowie, “Where
Are We Now?” (2013)

I could make a transformation
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Is there concrete all around or is it in my head?

— David Bowie, “All
the Young Dudes”

The 1970s were the era of defeat. As the sixties were extremely intense in terms of political and social change, from the early seventies the flux went steady. David Bowie, who debuted in the late sixties, marked this change when he invented Ziggy Stardust in 1972: no more real heroes, from now on the most desirable thing was to be fabricated. What is genuine, authentic, is boring. The only hero that really matters, is pure artifice, cut out from the comic books, movies and dressed in everything that’s glamorous. Bowie more than anyone contributed to the cherishing of artifice in pop music, realizing the idea of a “hero for a day,” only following the course mass culture had been taking for decades. Was he conscious of that? Some of his lyrics of the era mark the mourning of the depoliticization of his generation: in the lyrics to the song “Star,” he mentions “Bevan (who) tried to change the nation,” and posing himself instead as someone who “could make a transformation as a rock & roll star.” Facing the “growing nihilism of his generation, he still believes that as a star of artifice, he can carry on their political task. “All the Young Dudes,” a song he wrote for Mott the Hoople in ’72, reeks of the youth’s disappointment and disillusionment, forming a kind of “solidarity of the losers” anthem. Bowie, always too erratic to make any firm political commitment, was rather in love with various dubious figures, “cracked actors,” (the inspiration for Ziggy was a forgotten singer who was believed to be a combination of god and an alien), necromantics like Aleister Crowley, Kenneth Anger’s satanism, Fascist dictators. He was, nevertheless, obsessed with certain elements of modernity. He was driven to German culture, especially the Weimar period, expressionism, Neue Sachlichkeit, theater, Brecht. His first break-through hit concerned a man lost in space, after all, and the space age gets a strongly melancholic treatment from Bowie, as his character Major Tom is rather terrified by the silence of space. Another obsession, as we will see, was Orwell’s Nineteen Eighty-Four.

Bowie’s fixation with “totalitarianism” applied to both sides. At one point he planned to stage an adaptation of the Soviet-Czech comic book Octobriana, about a socialist she-devil super-heroine — a samizdat publication, that was circulated between creators only through the post. Bowie could only have learned about it from its 1971 American edition. On the other side, his dalliance with the far right was something more than just the famous Sieg Heil he made to fans in 1976 at Victoria Station. It’s not an accident pop bands are very rarely left-wing, and Bowie’s reaction to the economic crisis of the seventies was to imagine becoming a right wing politician who’ll “sort things out.” “I believe strongly in Fascism,” Bowie said; “the only way we can speed up the sort of liberalism that’s hanging foul in the air is to speed up the progress of a right wing tyranny. People have responded always more efficiently under a regimental leadership.” Bowie recognized, if only half-consciously, the appeal and meaning of the pop idol as a dictator. In Peter Watkins’ film from some years earlier, 1967’s Privilege, a young, cherubic, mega-popular singer is hired by the fascistic authorities, who use his popularity to ensure their control over the masses, in a truly Orwellesque, Big Brother-like take on the police state (which here has much more to do with Nazi Germany than communist states). Yet Watkins’ scared, weakened, traumatized singer, terrified of the masses, couldn’t have been further from Bowie, who relished in fame.

So Bowie’s fascination with Germany and Berlin was only partly expressionism – much of it was also quite simply, fascism. He became a chief Schwarzkarakter for Rock against Racism, whose magazine pictured him next to Enoch Powell and Hitler. The press deemed his Thin White Duke look “more Nazi than Futurist (sic)’. He also caught the attention and sympathy of the National Front, who in an article called “White European Dance Music,” said that “Perhaps the anticommunist backlash and the aspirations towards heroism by the futurist movement, has much to do with the imagery employed by the big daddy of futurism, David Bowie. After all, it was Bowie who horrified the establishment in mid seventies with his favorable comments on the NF, and Bowie who might have started an “anti-communist” music tradition which we now see flourishing amidst the New Wave of futurist bands. Who might the NF’s publicist have meant as the “futurist movement”? It was the growing synthpop and New Romanticism that was emerging from the post-punk bands. Punk by itself might have evoked a resistance towards the establishment, but by then it was dissolving. Although we are used to seeing industrial/synthpop/postpunk as ruthless modernists, the bands were actually rarely openly left wing. The political message, if any, was rather vague. Bands dwelling on the space age came often from dispossessed areas, which they then made topics for their music, but the result didn’t have to be politically sound. It was this later, new romantic period that brought Bowie to the left, with the stern words about “fascists” on Scary Monsters.

But even if we treat those remarks as just the drugged out delirium of a coked-up degenerate, which they were, it can’t be denied they had an influence on popular music. If you take the whole fascination with the Germanic in post punk bands, like Siouxsie and the Banshees or, omen omen, Joy Division, the twisted outpourings of their leaders weren’t just simply teasing their parents. They were flirting with the outrageous (Siouxsie), against the war generation, or they were openly right wing, like Ian Curtis. They had little to do with the struggles of Baader-Meinhof that ended tragically few years back. Curtis was confusing his obsession with Hitlerism with another obsession with a concentration camp prisoners (Stephen Morris has said in an interview that Joy Division were supposed to look like Nazi camp victims) or wider, the idea of the underdog, which tapped into their Bowieesque Eastern Bloc fantasies, like that of “Warszawa,” an eternally concrete, sinister city. Yet Bowie’s image of contemporary Berlin must’ve been seriously twisted, if he thought he could find shelter there with another drug addict, Iggy Pop, in a place that had already become one of the most narcotics-dependent places on earth. West Germany and West Berlin had for years been a territory of political dysphoria. The New Left’s legacy was melting. In a context of pseudo-denazification, militancy reached its peak around 1968 and the police shooting of Benno Ohnesorg. By 1976, when Bowie moved to Berlin, it had become the armed terrorism of RAF, the Red Army Faction. Continue reading →