tag:blogger.com,1999:blog-63015386196394031612024-03-13T22:44:51.261-07:00Work Resumed on the TowerWork Resumed on the Tower is a blog focused on popular culture, literature, and politics from a radical, anti-capitalist perspective.robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.comBlogger251125tag:blogger.com,1999:blog-6301538619639403161.post-20604199394024342362020-08-07T14:55:00.002-07:002020-08-07T14:55:43.925-07:00A Short Comment on the Genre and Subculture of Science Fiction in the Wake of George R.R. Martin's Worldcon Comments<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The recent controversy around toastmaster
George R.R. Martin’s repeated lauding of controversial editor and author John
Campbell has produced a renewal of the ‘canon’ controversy. Most folks who I
have seen respond to this have taken a fairly sensible approach. There’s no
particular need to have read any particular set of science fictional texts to
be a ‘fan’ of the genre. It’s hard to argue with the logic, particularly at a
moment where one can spend a lifetime exploring a particular aspect of the
genre, whether that be military science fiction, space opera or feminist
science fiction. The textual production of the genre is so extensive that you
are inevitably not going to have read some particular text that falls into some
community’s ‘canon’, whether that is Robert Heinlein, Philip K. Dick, Joanna Russ, Octavia Butler, or any
number of significant figures. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>In a sense, one could very easily
stop at that moment of critique. It pretty effectively neutralizes the demand,
but I want to explore a different level of the assumptions embedded in the
claim of canonicity and the demand that one must read a set of subcultural
figures to establish your authenticity of a fan. This obvious act of
gatekeeping contains an important set of assumptions that the circle of fandom
is somehow coextensive with the circle of science fiction and fantasy, or at
least that it should play some significant and outsized role in defining science
fiction. At this point, that illusion is fairly well shattered. We live in a
world where thinly veiled slash fiction is sold at Target and figures such as
George R.R. Martin and J.R.R. Tolkien are multi-million-dollar industries.
Figures such as Philip K Dick and Octavia Butler are parts of significant academic
conversations that only have tangential connections to fandom at best as well.
At this point, their cultural relevance is no longer controlled by the
subcultural fandom for better or for worse. The next book produced by George
R.R. Martin is probably going to sell like hotcakes even if the most recent incidents
cause the archipelago of the subculture to turn their backs on him.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>But I want to push that dimension
further and argue that science fiction never was the sold domain of fandom. The
genre has its origins before the creation of this subculture and it always
exceeded the limits of the subculture. Hugo Gernsback may have given the genre
its official name and he may have played a significant role in creating the
subcultural community that celebrates that name, but the conventions of the
genre were coagulating before his intervention and authors and publications had
made their names in its construction before him. We can point back to a number
of obvious names, Jules Verne and H.G. Wells, Mary Shelley, Edgar Allen Poe,
and aspects of the utopian tradition. We can even point to a fairly significant
pulp tradition that shapes the work of Gernsback and others. Most of these
authors, who still define the literary conventions had no connection to the subculture
or tangential connections at best, such as Wells’ frustration at the reprinting
of his work by Gernsback without royalties. If one looks at the debates between
Wells and Verne, one can see that they were able to debate the definition and
limits of the genre without him. I don’t want to entirely dismiss the
distinction between science fiction and the scientific romance or the fantastic
voyage, but they are frequently less distinct than the disjunctures that exist
within the subcultural world of science fiction itself, a world that includes
Doc E.E. Smith, Isaac Asimov, Pamela Zoline, and Octavia Butler.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Even when we move into the era of
the 1930’s, 1940’s, and 1950’s, we can find significant works of science
fiction that fall outside the narrow confines of fandom. The work of Karel Capek
comes immediately to mind, along with the dissident works of Soviet critics
such as Yevgeny Zamyatin and Mikhail Bulgakov. In addition, we can add to the
list the works of Olaf Stapledon, George Orwell, and Katharine Burdekin. Within
the United States, we can think of significant figures such as George Schuyler
who has only recently been recognized as a significant science fiction writer
and others. Through this massively incomplete list, we can see a world of
science fictional narrative production that both falls largely outside the
circles of the subgenre and that often plays a significant role in shaping the literary
production of the subgenre, whether in the form of the word ‘robot’ introduced
to the world by Capek or the dystopian conventions of <i>1984 </i>and <i>Brave
New World</i>. That continues with the work of authors such as Stanislav Lem,
who was antagonistic to the subculture, Arkady and Boris Strugatsky, and
others. We can also include Margaret Atwood, who until recently has tried to
distinguish her dystopian production from the genre and the subculture. Science
fiction as a generic form has always exceeded the grasp of the science fiction
subculture. It has never fully defined the readers of the texts and it has
never defined the literary production of the genre. There are worlds of science
fiction that don’t connect to that subculture or only tangentially connect to it.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>That isn’t to deny the real
creativity and labor within the subculture. It has after all produced
significant authors, modes of criticism, and very real communities. Members of
the subculture have done a lot of the work to discover obscure texts that later
define the conventions in the genre and have often done significant translation
work. As maddening as it frequently is, it has created a rich language and a
fascinating legacy. I can see why people want to preserve it and, in many
cases, to break down the racialized and gendered walls of exclusion that often
defined it. Within the latter context, decentering the narrative of fandom in
the larger field of science fiction can play a productive role. Figures such as
Campbell and Heinlein are significant within specific communities of literary
production, but they don’t define the wider field of the genre. We can think of
the ways that the subculture benefited from that larger world even as it
frequently excluded it. We can track down other literary and historical
narratives, which will be undoubtedly defined by their own flaws, contradictions,
and promises. We can also follow paths of translation as subcultural narrative approaches
are translated and transformed. The subculture has always played a part in this
narrative, but it has never been the narrative in its entirety. </span></p>
<p> </p>robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-7759471774668025732020-04-13T17:05:00.002-07:002020-04-13T17:06:21.600-07:00A Short Comment On Donald Trump<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Despite the many efforts to frame
Donald Trump as an entirely unique president, I find myself most often
associating his presidency with the presidency of Ronald Reagan. Both
individuals entered the public eye through their work in entertainment, Reagan
as a second tier Hollywood movie star and Donald Trump through his role as
first a headline maker and then in his role as a reality tv star and
controversial interview subject.<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 107%;">[1]</span></span></span></span></a> In that sense, their
affective differences can easily be ascribed to the genres that defined their
acting careers. Reagan’s pleasant geniality is a product of his role as the
hero in a variety of somewhat small Hollywood melodramas. As Reagan aged, he
eased himself into the role of the genial and wise grandfather, reflecting the
roles he probably would have played if he had succeeded in staying in the
industry. Trump on the other hand reflects the generic conventions of reality
tv, a genre that emphasizes getting the audience’s attention at any cost and
creating an aesthetic of spontaneity and authenticity. In this sense, Trump
really isn’t that far from his persona that he and his producers constructed
for his reality tv show, <i>The Apprentice</i>.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Despite these surface level
differences, we can find some deeper continuities. Both figures have been
profoundly successful at avoiding the consequences of their mistakes in policy
and in speech. Reagan was known as the Teflon president because of these
qualities and Donald Trump has been able to weather a long series of mistakes
that would have easily sunk many other politicians’ careers. The two are also
defined by a loose relationship with the truth. It has been largely forgotten,
but Reagan would frequently relay the narratives of his own films as a
representation of an experience of World War II and Trump’s long history of
dishonesty is too lengthy to fully and meaningfully spell out. In this sense,
despite the efforts on the part of the liberal media and the apparatus of the
Democratic Party to frame the presidency of Donald Trump in terms of
discontinuity, a radical shift that marks a deep disturbance in the modes of
liberal governance and a threat to that tradition of governance, Donald Trump
can be seen as in continuity with a series of counter-revolutionary practices
that took center stage with the election of Ronald Reagan and continued through
the presidencies of George Bush, Bill Clinton, George Bush and even Barack
Obama.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">In
effect, the last thirty or so years of official political leadership in the
United States can be understood within the framework that Paolo Virno laid out
in his critique of post-Fordist capitalism in the 1990’s. Virno noted that the
era was increasingly defined the qualities of cynicism, opportunism and fear. </span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">He frames this affective shift in
terms of the shifts in the accumulation of capital after the world revolution
in 1968 in his article, “The Ambivalence of Disenchantment”: “Marked by
intensified domination, the post-Fordist productive process itself demonstrates
the connection between its own patterns of operation and the <i style="mso-bidi-font-style: normal;">sentiments of disenchantment</i>.<span style="mso-spacerun: yes;"> </span>Opportunism, fear, and cynicism—<i style="mso-bidi-font-style: normal;">enter into production, or</i> rather, they
intertwine with the versatility and flexibility of electronic technologies.”</span><sup><span style="font-family: "times new roman" , serif; font-size: 10.0pt;"> </span></sup><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">(Virno
14)<span style="mso-spacerun: yes;"> </span>Virno defines the terms as the
willingness to work cynically from rule set to rule set and to
opportunistically choose the rule set that is most advantageous to the subject
in question. In this sense, both politicians play a series of roles, and in
doing so, evade a series of criticisms. They both use a pose of sincere
spontaneity to mask the opportunistic shifts in their positions and as a way of
deflecting the criticism of their often-obvious deception and insincerity. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">In
this sense, Trump is not an anomaly, but representative of certain political
trends of the post-68 era. Those qualities may appear to be more immediately
unpleasant than previous examples, but you can create a through line with the
presidencies of Ronald Reagan, George W. Bush, and to a lesser extent, of Bill Clinton, that easily connects to the
qualities of the Trump presidency. If Donald Trump is a more extreme version of
this model, it’s only because his predecessors have created that possibility. There is also a decay of the legitimizing structures of the bourgeois state that perhaps has its start with the Watergate moment.
That through line also points to the crisis of the post-1968 moment and the
gradual decline of the United States as a world power and the larger crisis in
the world system. All the candidates in different forms offered a return to
former glory and all failed in that effort. Reagan was perhaps able to hold
onto the illusion, but that illusion was broken with the later candidates. In a
certain sense, the failures of the Bush administration might have played a
helpful role for the Trump candidacy. There is no meaningful expectation that
the promises will be fulfilled, and the empty bellicosity is embraced as such. In
that sense, this trend can be understood within the context of the ‘morbid
symptoms’ that Gramsci identifies as the product of a stalled revolution. The
68 movement neither succeeds or fails and we are in a moment stasis.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[1]</span></span></span></span></a>
This interpretation of Donald Trump reads his self-presentation as a self-made
businessman and entrepreneur as a semi-fictional media construct, created by
himself and the mainstream media. </div>
</div>
</div>
robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-31955882715278970502019-10-06T12:53:00.001-07:002019-10-06T13:12:45.423-07:00A Short Comment on the Scorsese Kerfuffle <!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
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table.MsoNormalTable
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mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
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mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:8.0pt;
mso-para-margin-left:0in;
line-height:107%;
mso-pagination:widow-orphan;
font-size:11.0pt;
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Martin Scorsese recently created a
great deal of controversy by panning the films made within the Marvel Universe.
According to Scorsese, the films weren’t really ‘cinema’ which was defined by him
as, “human beings trying to convey emotional, psychological experiences to
another human being.” Instead, he compared the experience to a “theme park”
with actors. On one hand, Scorsese’s analogy isn’t that far off. It could be
argued that the often-lighthearted romps created by the studio have depended on
a mixture of spectacle and quips. The experience of a Marvel film is remarkably
like a theme park. We go for the rides and soak in the sound and sights. Fans
develop emotional investment in the characters, but the films haven’t been the
psychological investigations that Scorsese seems to associate with the
experience of cinema. On the other hand, hasn’t that kind of spectacle at least
in part defined the cinematic experience from its origins? Silent film featured
melodrama, but it also featured fast-moving trains, planes, and automobiles. Buster
Keaton’s classic, <i>The General</i>, was driven by its stunts as was the work
of Harold Lloyd. Later films such as <i>Around the World in Eighty Days</i>
continued that tradition, as did the much-applauded <i>Gravity</i>. That ‘theme
park’ quality of spectacle may not be Scorsese’s preferred mode of cinema, but
it is cinema. One could even make the argument that the films often fail to
provide the kind of innovative spectacle that defines good or great cinema, but
that is a different conversation.</span></div>
robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com2tag:blogger.com,1999:blog-6301538619639403161.post-53069776069832510482019-08-02T17:05:00.002-07:002019-08-02T17:05:20.253-07:00Marx and the Composition of the Proletariat <!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>One of the most common critiques
that I hear of Marx within several specific academic frameworks is that Marx
somehow imagines a ‘homogenous proletariat.’ Marx’s simplified vision of the
world is almost inevitably contrasted with a more sophisticated vision of the
world that is either being proposed by the speaker or is taken up by a thinker
that the speaker wants to see either supplant Marx or transcend his limited
vision. To be clear, this interpretation is not invented whole cloth by this
audience. One can only turn to particular threads of Marxist iconography,
particularly within the tradition of socialist realism and particular trends of
‘anti-identitarian’ Marxism to find this homogeneity either in the singular
image of the heroic male worker who is intended to stand in for the proletariat
as a whole or the antagonism toward difference found within certain strands of
thought. However, this interpretation of Marx doesn’t particular hold up well
when you turn to the first volume of Capital. I’m going to turn to that work to
first try to understand how that interpretation arises from that work, and then
look at how that interpretation falls apart when we consider the work as a
whole. Rather than producing homogeneity, Marx argues the infinite chain of
equivalence at the heart of capitalist accumulation is dependent on an intense
process of discipline that not only constructs forms of difference but is
deeply committed individualization of the worker and the citizen.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The homogeneity reading probably can
be best understood by looking at the first chapter of <i>Capital</i>. Marx
begins his investigation into political economy by examining the “” the
commodity. This chapter attempts to answer the question, what is behind the endless
chain of equivalences that form market relations. Why can we think about
objects as different and discrete as linen, coffee, and gold in relation to
each other? To do so, Marx distinguishes between use and exchange value. The
use of an object is singular and cannot determine the forms of equivalence that
drive the commodity form. The fact that I can use the bible that Marx discusses
as a form of edification, an object for display to establish an identify for an
audience, or as a doorstop doesn’t really explain its cost. Use value is
central to that system. If an item doesn’t have a use, it won’t be purchased,
and therefore will by necessity fall out of the circulatory process of the
system. However, to understand why something is worth something, we have to
look at its exchange value, the point that Marx spends most of the chapter on. Marx
then diligently works through dozens of permutations of equations in order to
get to the notion that value at the heart of this system is what he calls
‘socially necessary labor.’ The value is dependent on average time it takes to
produce something within a given social setting. Marx emphasizes that this is
by no means a stable system and his work in Capital and The Poverty of
Philosophy goes into the ways that forms of competition, class struggle, and
technological development cause this to change. He then goes on to explore how
the exploitation of this labor is necessary for the production of surplus
value.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>However, one can see where one could
get to a notion of homogeneity through a good faith reading of this section of
the book. In order for labor to act as an equivalent, there has to be some
sense of the sameness of that labor. But Marx has already provided some pretty important
caveats that should warn against this reading. He has already indicated he is
thinking of labor only within the context of simple average labor, which by its
nature, excludes more complex and skilled forms of labor. Even more
significantly, he argues, </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">If we then
disregard the use-value of commodities, only one property remains, that of
being products of being products of labour. But even the product of labor has
already been transformed in our hands. If we make abstraction from its
use-value, we abstract also from the material constituents and forms which make
it a use-value. It is no longer a table, a house, a piece of yarn or any other
useful thing. All its sensuous characteristics are extinguished. Nor is it any
longer the product of the joiner, the mason, or the spinner, or any other
particular kind of productive labour. With the disappearance of the<span style="mso-spacerun: yes;"> </span>useful character of the products of labour, the
useful character of the kinds of labour embodied in them also disappears; this
in turn entails the disappearance of the different concrete forms of labour.
They can no longer be distinguished, but are all together reduced to the same
kind of labour, human labour in the abstract.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Let us now look at the residue of
the products of labour. There is nothing left of them in each case but the same
phantom-like objectivity; they are merely congealed quantities of homogenous human
labour, i.e. of human labour-power expended without regard to the form of its
expenditure. All these things now tell us is that human labour-power has been
expended to produce them, human labour is accumulated in them. As crystals of
this social substance, which is common to them all, they are values—commodity
values” (Marx 128).</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>The homogeneity of labor power is only
possible through an intense process of abstraction. It operates in the averages
of multiple competing spaces of production, rather than within the material
practices of the laboring process. It disciplines and animates the process of
production and as we will see later has a deep impact how we conceive ourselves
in relationship to each other, but it gives no sense of how something is
produced. Moreover, there is a critical edge to the description of this
process, indicating a sense of violence that is implicit in this process and
its erasure of particularity, one that isn’t simply limited to a sense that
roughly equivalent workers are being roughly equivalently exploited. But the
full implications of that critique are only available later in the book. After
all, we’re still operating within the terrain of the market, the realm of
equivalences that is dependent on equals interacting and competing as sellers
and buyers.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">To
understand the laboring process that creates the condition for that market to
work, we need to begin by turning to Ch 13, Co-operation. Marx opens the
chapter by emphasizing the importance of social production. Marx notes,
“Capitalist production only really begins, as we have previously seen, when
each individual capital simultaneously employs a comparatively large number of
workers, and when, as a result, the labour-process is carried on on an
extensive scale, and yields relatively large quantities of products.” (Marx
439) The increase in the level of workers tends to average out the differences
in production within this condition even without the intervention of machinery,
but the introduction of machinery intensifies this process, shifting the
relationship of workers to their work. Marx notes, “When<span style="mso-spacerun: yes;"> </span>numerous workers work together side by side
in accordance with a plan, whether in the same process, or in different but
connected processes, this form of labor is called cooperation” (Marx 443) That
cooperation create the conditions in which the labor of many creates a level of
productivity that could not be matched by the same amount of workers in
isolation. The process of cooperation itself intensifies production and the
level of exploitation.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Marx
intensifies his analysis when he turns to the next chapter, “The Division of
Labor and Manufacture”. He argues that the process of cooperation within the
factory setting specifically produces a kind of collective worker that is
produced through the cooperative process of the factory. He notes,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">The collective
worker, formed out of the combination of a number of specialized workers, is
the item of machinery specifically characteristic of the manufacturing period.
The various operations performed in turn by the producer of a commodity, which
coalesce during the labour process, make demands of various kinds on him. In
one operation he must exert more strength, in another more skill, in another
more attention; and the same individual does not possess these skills in an
equal degree. After the <span style="mso-spacerun: yes;"> </span>various
operations have been separated, made independent and isolated, the workers are
divided, classified and grouped according to their predominant qualities. If
their natural endowments are the foundation on which the division of labour is
built up, manufacture, once introduced, develops in them new powers that are by
nature only fitted for limited special functions. The collective worker now
possesses all the qualities necessary for production in an equal degree of
excellence, and expends them in the most economical way by exclusively
employing all his organs, individualized in particular workers or groups of
workers, in performing their special functions. The one-sidedness and even the
deficiencies of the specialized worker become perfections when he is part of
the collective worker. The habit of doing only one thing converts him into an
organ which operates with the certainty of a force of nature, while his
connection with the whole mechanism compels him to work with the regularity of
a machine.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Since the various
functions performed by the collective worker can be simple or complex, high or
low, the individual labour-powers, his organs, require different degrees of
training, and must therefore possess very different values. Manufacture
therefore develops a hierarchy of labour-powers, to which there corresponds a
scale of wages. The individual workers are appropriated and annexed for life by
a limited function; while the various operations of the hierarchy of labour
powers are parceled out among the workers according to both their natural and
their acquired capacities. Every process of production, however, requires
certain manipulations, which every man is capable of doing. These actions too
are now separated from their constant interplay with those aspects of activity
which are richer in content, and ossified into the exclusive functions of
particular individuals. (Marx 469)</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>As
we can see in this extensive passage. The figure that constitutes the figure of
equivalence is a sort of collective assemblage of workers and machinery,
disciplined into a matrix of procedures by a plan or set of plans. The overall
effect of this process is a disciplinary homogeneity, produced by each
individual worker’s connection to ‘the whole mechanism’ in order to produce ‘an
equal degree of excellence.’ However, the process that produces this almost
cyborgic subjectivity does not transform the individual parts into equivalents.
Instead, the parts of the machine are defined by specialization and
individualization. This process may start with some sense of ‘natural
endowments’ but the disciplinary apparatus quickly steps into ‘develop in them
new powers that are by nature only fitted for special limited functions.’ Rather
than creating homogeneity, capitalist discipline within Marx’s analysis
produces an intense form of individualization that is enforced by Marx’s use of
the metaphor of the specialized organ of the body. This specialization also
involves hierarchy, a division between ‘simple or complex, high or low’ forms
of labor, corresponding to a ‘scale of wages.’ At this point, it’s hard to
recognize the image of Marx that we discussed at the beginning of the essay.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>However, Marx’s examination of the
disciplinary process doesn’t stop at the point of production, the factory.
Instead, he shifts into a discussion of the monitoring of populations that are
selectively brought into and are taken out of the productive process depending
on the economic cycle, the ‘Industrial Reserve Army of the Unemployed.’ This
shift notably moves the classificatory and disciplinary system as noted
previously to the outside of the factory, and it shifts the narrative from the
relationship between employer and employee to a state logic. The increase of
the use of machines creates a surplus population that no longer is needed in
the factories. These populations are then brought into the factories and are
ejected from them in response to the boom and bust cycle that defines the
process of capitalist accumulation. Marx notes that these surplus populations
are not as Malthus has it, a product of natural processes, but a distinct historical
product of capitalist accumulation.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>For our purpose though, the importance
of this category is its continuation of the process of distinction and
individuation that begins in the factory itself. We see the state introducing
an intense set of disciplinary apparatuses to classify and divide the
population for purposes of surveillance and policing. The proletariat then is
not only defined by an intense formation of individuation and differentiation
at the level of the factory, but outside as well. We find a class formation
that is deeply fragmented through the disciplinary process of capitalist
accumulation, differentiated by skill, access to work, legal status, and other
factors. It’s easy to see how this analysis can incorporate the modes of racialization
that both define the history of the workplace along with the forms policing
that contribute to the construction of a racialized population. It’s notable
that Ruth Wilson Gilmore’s analysis of the prison in Gold Gulag: Prisons,
Surplus, Crisis, and Opposition in Globalizing California operates through the
categories of surplus populations and the industrial army of the unemployed
introduced by the first volume of Capital.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>At a historical level, Marx doesn’t
minimize the importance of imperialism and slavery in constructing the
capitalist world system. As Marx notes in Chapter 31: The Genesis of Industrial
Capitalism,</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">“The discovery
gold and silver in America, the extirpation, enslavement and entombment in minds
of the indigenous population of that continent, the beginnings if the conquest
and plunder of India, and the conversion of Africa into a preserve for the
commercial hunting of blackskins, are all things which characterize the dawn of
the era of capitalist production. These idyllic proceedings are the chief
moments of primitive accumulation Hard on their heels follows the commercial
war of the European nations, which has the globe as its battlefield. It begins with
the revolt of the Netherlands from Spain, assumes gigantic dimensions in
England’s Anti-Jacobin War, and is still going on in the shape of the Opium
Wars against China, etc…. Force is the midwife of every society which is pregnant
with a new one. It is itself an economic power. (Marx 915-916</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Far from ignoring the forces of
colonialism, Marx identifies the colonial process as both the starting point of
capitalist accumulation, and as an ongoing process as the reference to the
Opium Wars indicates. The European system of industrialization is dialectically
intertangled with the process of colonialism and each is dependent on the
other. We can see Marx distinctively identifying the operation of capitalism as
a world system, one that is dependent on extraordinary levels of violence and
force to keep in motion. We might also see this as another moment of
heterogeneity in Marx’s analysis. If the factory is marked by individualization
and disciplining of the workforce, and the construction of surplus populations
requires state discipline and surveillance, the factory itself requires
colonial violence to make its production viable. Marx earlier in the book makes
the same observation about the relationship between factory production, notably
textiles and the plantation, the two systems mutually reinforcing each other’s
growth. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Just as significantly, he sees the transformations
after the civil war as central to understanding the possible transformation of
the system. Marx introduces this in the Preface to the First Edition to the
book. “Let us not deceive ourselves about this. Just as in the eighteenth
century the American War of Independence sounded the tocsin for the European
middle class, so in the nineteenth century the American Civil War did the same
for the European working class.” (Marx 91) Far from playing an incidental role
in the transformation in the world system, Marx saw the civil war as a marker
for a dramatic shift in social conflict. He continues this analysis at the end
of the preface, “At the same time, on the other side of the Atlantic Ocean, Mr.
Wade, Vice-President of the United States, has declared in public meetings
that, after the abolition of slavery, a radical transformation in the existing
relations of capital and landed property is on the agenda. These are signs of
the times,<span style="mso-spacerun: yes;"> </span>not to be hidden by purple
mantles or black Cossacks. They do not signify that tomorrow a miracle will
occur. They do show that, within the ruling classes themselves, the foreboding
is emerging that the present society is no solid crystal, but an organism capable
of change, and constantly engaged in a process of change.” (Marx 93) Slavery in
effect played a lynchpin role in holding together the system and its abolition created
possibilities for transformation, albeit far from certain ones.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>None of this erases the flawed political
analysis and practice of Marxist groups throughout the long history of their operation,
and nor should it, but it points to a rich set of possibilities that are
contained within Marx’s analysis and create the space to continue to use and
build on Marx’s materialist analysis. I’m not sure what I’m going to do with
this at this point, but I wanted work through some of this material.</span></div>
robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com1tag:blogger.com,1999:blog-6301538619639403161.post-4112621095747075642019-03-04T17:33:00.000-08:002019-03-04T18:57:57.725-08:00Sanders and Reparations<!--[if gte mso 9]><xml>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">The
recent controversy around the Sanders campaign reminded me of some remarks that
Erwin Marquit made about his experiences in the Communist Party in the 1970’s.
Erwin mentioned that he got into a big fight with the national leadership over
the party’s position on LGBT rights at that point. He was frustrated that ‘the Democrats
are ahead of us on that question.’ In effect, the Communist Party was looking
bad because local Democrats were beginning to recognize the struggle for GLBT
rights at that point framed under the rubric of gay liberation and the party had
not yet shifted its positions on the same questions. The ability of the party
to claim a radical or even progressive position within the political terrain of
the day was being lost. In effect, the Sanders campaign is in a similar
situation with the question of reparations for slavery. The question is not a
new one for Sanders. <span style="mso-spacerun: yes;"> </span>He took a similar
position in 2016 to the position his campaign is taking today and was similarly
criticized. However, there were limits to that criticism. After all, his
position was no different than any of the major candidates and in some ways his
position was closer to supporting reparations than many of those candidates.
This story has changed four years later. Sanders’ position is no longer universally
adopted by the Democratic Party. As a few more mainstream Democratic presidential
candidates, ranging from Kamala Harris to Julian Castro and Elizabeth Warren
have embraced the call for reparations for slavery, Sanders’ refusal to follow
their lead is making the candidate look less and less like the most progressive
candidate running for the office and potentially sabotaging his ability to win
the nomination.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">To
understand the significance of the problem we both need to examine how the
Sanders Campaign has framed his attempts to win the nomination and to think
about the question of reparations within the larger contemporary political field.
To begin, as several critics have pointed out, the Sanders Campaign has
attempted to frame his candidacy far differently than other candidates. As
supporter Corey Robin has frequently noted, “Bato, Harris, Klobachar, Biden,
Gillibrand, Booker: The basis of their candidacies is them, their person. That’s
what they have in common. Sanders and Warren are the only 2 candidates whose
basis is a set of ideas, well worked over the years, about the economy and the
state.” One can go even farther by distinguishing Sanders as a candidate that
has not only run on a set of consistent principles, but as a candidate that has
been trying to use his candidacy to create a kind of mass movement and to frame
his candidacy as a response to a variety of mass movements, drawing from the
legacy of the Rainbow Coalition and bringing in select issues from both the
Occupy protests and the Black Lives Matter protests. This aspect of Sanders’
candidacy has created a very strong base for his candidacy and has created a
strong coalition of supporters who have been both rhetorically and economically
very supportive of the candidate, to the point where Sanders is and was a
strong candidate despite a lot of official Democratic Party opposition.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">At
the same time, it has made his position on reparations even more damaging. To
explain why, we need to contextualize the demand for reparations. The demand for reparations is by no means a novel demand. One can go
back to the Reconstruction era to find demands for recompense for stolen labor
on the part of former slaves and demands that the federal government should
live up to its unfulfilled promise of forty acres and a mule on the part of
General William Sherman. More recently, Michigan Representative John Conyers
had introduced a bill every year into congress starting in the late ‘80’s calling
for a committee to investigate "impact of slavery on the social, political
and economic life of our nation” as the beginning of a process of reparations. However,
it has been two essays that in many ways frame our current focus on the issue
and successfully transformed the demand into a popular slogan that shape activist
and academic debate. The first was Randall Robinson’s polemic, <i style="mso-bidi-font-style: normal;">The Debt</i>: <i style="mso-bidi-font-style: normal;">What America Owes to Blacks</i>, which brought the slogan to mainstream
attention in 2001 and more recently, Ta-Nehisi Coates essay, “The Case for
Reparations,” which renewed Robinson’s call and returned the topic to public attention.
Both efforts contextualized the demand for reparations in the long history of anti-Black
racism, starting with the effects of slavery and moving into the effects of Jim
Crow and the later affects of redlining and other practices. Both made the
arguments that the only way some sort of genuine equal opportunity could be
created would be through the act of reparations, making up for the millions of
dollars of damage done by the systemic racism of the dominant institutions of
the country. That framework not only produces an immense amount of discussion,
but it helped shape the popular activism that followed it, ranging from the
Black Lives Matter movement to the demands of the NAACP and more local
campaigns such as the efforts on the part of the University of California,
Irvine Black Student Union to base financial aid on wealth, rather than income.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">This
creates a profound incongruity on the part of the Sanders Campaign, who attempts
to frame their campaign as a collective effort to move popular demands forward,
while refusing to recognize the force and legitimacy of this extremely popular
demand. That disjuncture means that the refusal also in a
sense translates into a refusal to incorporate the demands of a wide swath of African American activists
and at times other activists of color into the campaign and winds up standing in for the
distinct limitations in the campaign’s anti-racist imaginary. Sanders in
particular has been quite direct in his criticism of the demand, arguing that reparations
are both impractical and not the best way to approach social problems, despite
proposing programs that are not entirely dissimilar to the proposals for wealth
redistribution that look like the NAACP proposal. At one level, its hard not to
notice that Sanders’ critique of the demand is not entirely dissimilar to the
critiques of mainstream Democrats of Sanders proposals of free college
education for all and Medicare for all. Sanders is asking us to abandon a certain neoliberal notion of realism with his demands, why start demanding that form of realism here? Even if we accept the notion that the
proposal isn’t feasible in the short term, framing the demand within the
context of the campaign would acknowledge the profound transformations that
need to be undertaken to overturn the long history of white supremacy that are
foundational to the country.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">At
this point, if they are still reading, there are probably many supporters of
the campaign who are probably thinking of any number of moments that the
Sanders Campaign has been mistreated, placing me into that category of criticism.
They would point to a series of commitments that the campaign has taken, around
reforms of the criminal justice program and other no less important issues. They
could also point to the efforts on the part of the campaign to reframe its campaign
slogans and demands, along with the campaign’s efforts to create conversations
with indigenous communities for instance. These responses shouldn’t be
discounted, but they are often undercut by the profound mistakes and
limitations of the campaigns attempt to create a substantial anti-racist
politics, which is most often undercut by Sanders himself. One can point at the
many cynical comments by supporters of the institutional Democratic Party to deflect
these concerns, but it would be a mistake to ignore why those cynical comments have
influence.To be clear, the mainstream media hasn’t been terribly fair to the
campaign, which shouldn’t be terribly surprising. After all, despite all its
problems the campaign is making a genuine effort to challenge the neoliberal consensus
that defines contemporary mainstream politics, despite rhetorical framings of a
resistance to Trump. That isn’t going to change with any changes in the
campaign, but the campaign can avoid giving the cynics of the Democratic Party more
ammunition to criticize it. It can reorient itself to develop a more meaningful
coalition to pose a radical reimagination of politics in the current moment. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">To
return to the example of the Communist Party that opened this essay, we might
use Asad Haider’s analysis of the Party’s embrace of Harry Haywood’s theory of
the Black Belt nation. In response to the popularity of Marcus Garvey’s black
nationalism, Haywood proposed that the historic Black Belt in the south constituted
a distinct African-American nation. The Communist Party within that context
embraced the concept of self-determination for that entity acknowledging the desire
for self-determination. Haider argues that the accuracy of Haywood’s theory is
less important than the strategic reorientation that the party took in relationship
to the aspirations of Black workers and sharecroppers. The demand for socialism
was aligned with the aspiration for self-determination and the party broke away
from a long history of radical institutions minimizing the forms of racialized
violence that shape every aspect of daily life. Whatever one thought of the specific
framework, the embrace of a specifically African-American nation both
recognized the value of the struggles taken on by black communities and the dramatic
transformations that would need to occur to create the kind of equality that
would translate into a genuine project. It embraced decolonization not as a
metaphor, but a concrete project of governance. Perhaps, the embrace of a
project that placed reparations as a center demand to an admittedly more modest
social democratic imaginary could play a similar role, standing in as a promise
for a more substantial program of social transformation and as a sort of promise
to create a significantly different set of social relations within the organization
itself.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">In
this sense, my concern is less about the Sanders Campaign itself, and more with
the broader organization that coalesces around the campaign, in formal organizations
like the DSA, but also in the informal structure of feeling that has been
created by the campaign. The latter, in particular, has contributed a lot to
the suspicions held by activists of color for this new formation. As long as
the new social democratic imaginary is perceived by so many within the
framework of whiteness, it will necessarily fail at its program of
transformation. At the same time, its an imaginary that could potentially play
a real role in social transformation and we are at a point where we need to see
dramatic change and that change needs to come soon.</span></div>
robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com1tag:blogger.com,1999:blog-6301538619639403161.post-16309811594577750392019-01-20T14:35:00.002-08:002019-01-20T14:35:36.588-08:00A Short Comment on the Protest of Tucker Carlson's House<!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The protest of Tucker Carlson’s
house on the evening of November 7<sup>th</sup> created a sensation throughout
the media. It was reported that a gang of anti-fa organizers protested the
personal dwelling of the media personality in a manner that more resembled a
home invasion than a traditional protest. Carlson’s wife reported an attempt to
break into the house and the house was vandalized. Various media personalities
across the political spectrum condemned this attack from Fox News to liberal
figures such as Michael Moore and Stephen Colbert. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>It was only after protestors
responded to the media coverage days later that it became apparent how flawed
the initial coverage of the protest was. Instead of a home invasion, the
protestors were at the house for a matter of ten minutes, briefly knocking on
the door, and taking part in a series of ordinary chants. Far from being a
danger, the march and protest was substantially monitored by the police and the
protestors had no real interest in much other than engaging in conventional
protest action. There was an action of vandalism taken on by a masked
individual, but that action wasn’t supported by the rest of the group. In
effect, Carlson effectively was able to use this event to present himself as a
victim, papering over his effective support for white nationalism over the past
year.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The question then becomes: how did
this happen, and could it have been avoided? An initial criticism might be the
chosen venue of the protestors. After all, pro choice activists did a pretty
good job of making anti-choice activists look bad by exposing their protests of
private homes. But to focus on this angle of the protest ignores some of the
productive use of the protest of the private homes of individuals. The Detroit
Newspaper strikers took their contract complaints to the Gross Pointe home of
the owner of the papers in the mid-90’s and Anti-Racist Action activists
successfully targeted a home of fascist activists in Minneapolis around the
same time. So, targeting a private home doesn’t itself immediately lead to
failure and there are moments where the tactic makes a lot of sense. After all,
it makes sense to target the owner of a business to settle a strike and it
makes a lot of sense to challenge the effort of Nazis to create a foothold in a
neighborhood.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>But even more than these aspects,
the largest difference between those protests and the Carlson protest was the
existence of a set of focused and tangible goals and a real media strategy,
both of which seemed to be missing in the Carlson protest. To point to a
contrast, the far more militant protests of the Milo Yiannopoulos talk in
Berkeley received far more positive attention in the press. Despite literally
storming the venue with fireworks, the activists managed to get their point of
view expressed across the media. The action itself was guaranteed to be
controversial, but the logic of the protest was expressed to the media and there
was far more sympathy with those actions despite their obviously controversial
nature. In contrast, we only heard about the reality of the Carlson protest
several days after the controversy erupted and after a media narrative had
taken shape. It was clear that the protestors had not thought about the media.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>In a certain sense, the protest
should be understood within the context of the series of protests that lead up
to the action. For the past few months, individuals associated with the Trump
Administration had been targeted for protest as they attended events or went to
the restaurant. For the most part, these were protests of opportunity. Somebody
saw that an official was at an event or a restaurant and there was an effort to
get enough people together to embarrass them. As such, these events were spontaneous
and there was little ability to put together a media plan. The Carlson protest
felt very similar. However, there are a couple notable distinctions. <span style="mso-spacerun: yes;"> </span>To begin, almost all the protests were in
response to public officials who were directly responsible for very
controversial and draconian public policy. In addition, there was no real
ability to plan in those situations. Neither point was true in the case of
Carlson, who certainly has expounded a white nationalist politic, but is not
directly responsible. Also, Carlson’s house wasn’t in danger of moving any time
soon.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>In effect, the protestors took a set
of tactics that were applicable to a political conjuncture and applied them to one
that did not fit the same criteria. By doing so, they allowed a political
demagogue to define the narrative of the protest, a demagogue who was being
protested for his manipulation of the news. They did so in a context where real
planning was entirely possible. The results were unfortunately predictable and,
to an extent, closed real possibilities of protest.<span style="mso-spacerun: yes;"> </span>To be clear, these mistakes are not unique to
the activists behind this protest. We have seen similar mistakes made frequently
in the name of a ‘spontaneous’ framework protest, and to be clear, I have
certainly been involved in some of those protests. Some of the choices to target
the chancellor’s house in Berkeley during the tuition protests in 2009 and 2010
had a similar effect, for instance, and our protest of our own Chancellor at
the UCI radio station had a similar backlash effect.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>My point isn’t that any of those
events were irredeemable failures or that they fully destroyed the ability for
movements to flourish, but that they were avoidable. Confrontational politics
are both necessary and productive, but they also required some basic planning,
most notably to challenge the inevitable narratives created by the dominant
media and to plan for likely contingencies. I really don’t get the sense that the
organizers took the time to think through the goals of the protest or the
possible problems that could have occurred as a result of such a protest. To be
clear, I don’t think that the protestors could have planned in a manner that
could have stopped the act of vandalism, but they could have planned in a
manner that got their point of view across to the media, even if it was the
alternative media. They could have provided a real dossier of the affect of the
kind of journalism embodied by Carlson and they could have provided a narrative
of the event that was playful and joyful, rather than confrontational, a
frankly more accurate portrayal of the event.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>I’m not interested in condemning the
activists who organized the failed Carlson protest. I respect and admire the
effort despite the problems. Instead, I want to use the moment to reflect on
the practices of organizing and more significantly our efforts to critically
assess our own actions. Organizers and activists inevitably fail. We fail a
lot. Some of those failures have little to no impact. Some of those failures
are immensely destructive. It would be a mistake to try to create organizing
efforts without failure because it would result in no action at all, but we can
do a lot more to identify and learn from our failures. More significantly, to
treat those failures as an ordinary part of discussion. We should do so not to
avoid failure per se, but to avoid falling into precisely the same kind of
failures and to fail in more interesting and productive ways.</span></div>
robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-31953252156290912082018-11-18T15:09:00.002-08:002018-11-18T15:15:52.820-08:00A Utopian Trace in Charles Dickens' Hard Times: A Utopian Studies Conference Paper<!--[if gte mso 9]><xml>
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<![endif]--> Charles Dickens’ Hard Times is not traditionally read within a utopian framework. The scholarship on the novel tends to focus on the generic conventions of realism and representations of the working class. The only reference to utopia in the scholarship comes from Leona Toker, who reads the novel as a critique of utopia, placing utilitarianism into the camp of utopia. I want to pose a counter-reading that places its focus on a series of liminal moments in the text. The novel continually gestures towards the fantastic, whether in the form of imagery on carpeting or the pulp literature consumed by the working classes. These traces of the fantastic are a threat to the advocates of utilitarianism, who attempt to suppress them from the school room and daily life. These attempts are shown in a comic light, revealing a narrow-minded literalism on the part of school teachers, but these liminal forms of art and literature also gesture towards the possibility of a world that operates on a different logic than the ‘hard facts’ of the factory town. I read these moments in the text as a utopian trace in the text, gesturing towards the forms of cooperation between working people that life in the industrial town depends on even as the dominant structures of the town attempt to suppress it. The traces of the fantastic take the form of a series of novum in the Blochian sense disrupting the daily life of the instrumental life of the factory town with a range of fantastic alternatives.<br />
<br /> It would be a mistake to see the utopian impulse as a central feature. Instead, the novel provides a sharp critique of the narrow instrumental reason of utilitarianism through a contrast of the many foibles of the middle-class citizens of the city of Coketown, contrasting them with the quiet dignity of the working-class victims of the industrial city and the carnival performers who try to avoid that life. The narrative follows the utilitarian Mr. Gradgrind as he moves from the reform school of the beginning of the novel to the upper reaches of parliament by the end of the novel. At the same time, it maps the effects of his education reform by showing the foundering of his children as they attempt to create lives for themselves without any real moral or ethical compass. It mirrors those problems by following the life of factory hand, Stephen Blackpool, who is unable to escape from his unfortunate marriage to his alcoholic wife, who shows no interest in either her husband or escaping from her condition, to marry his love, the devoted Rachel. In each case, the ‘muddle’ of family relations stands in for the ‘muddle’ of social relations that define Coketown as a whole.<br /><br /> Leona Toker’s essay “Hard Times and a critique of Utopia: A Typological Study” attempts to frame this discussion as precisely a critique of utopianism by framing the reform work of Thomas Gradgrind as a kind of utopian schema of improvement. Within this context, Thomas Gradgrind is presented as a principled reformer, one that allows his schema of improvement to blind him to the complexity of human existence. Because of that, his utopian schema becomes a dystopian reality for those who must live within it. Toker then places the book within a long tradition of anti-utopian literature that present the utopian and dystopian as two sides of the same coin, looking particularly at the work of Adolous Huxley and George Orwell. Utilitarianism in this context stands in for any program built on a set of abstract principles that are placed in effect within a society. However, while the text emphasizes Gradrind’s obsession with calculation and abstraction, there is little sense of Gradgrind as an individual who has any real interest in the improvement of the society that he lives within. Instead, Gradgrind’s work is continually focused on improving the efficiency of the system as it exists. Rather than showing an obsession for creating a new set of abstractions designed to create a better world, Thomas Gradgrind accepts the world as it is and refuses to imagine any possibility of it working differently. Gradgrind is certainly engaged in a project of the kind of reductionism that defines what James C Scott would identify as a high modernist impulse, but that impulse isn’t directed towards social transformation which is at the heart of the utopian project.<br /><br /> Katherine Kearn’s “A Tropology of Realism in Hard Times” might be a better place to begin an examination of the utopian impulse within the work of the novel. Her text argues that Thomas Gradgrind’s demand for a world based on facts and his desire to suppress a web of activities placed under the term ‘Fancy.’ For Kearns, Fancy then stands in for sexual pleasure and a constellation of other activities tied to the pleasure of the text, a continual excess of language that spills over and challenges the narrow logic of realism. For her, it represents ‘an opposition between the Hard Times consistently brings the reader to share in the deconstruction of its stated "realism," whose utilitarian surface yields throughout to those alternative and ineffable truths produced by the artist's "mute Hands," which do not tell but only feel and make’ (Kearn 859). The text continually exceeds the conventions of realism linked to the instrumental reason of capital, delving into the terrain of unconscious desire, which is ‘felt but not told’ through its figurative languge. Even though, Kearns’ analysis is framed within the trajectory of a deconstructive approach to the text, the analysis is not unreconcilable with Bloch’s theory of the utopian trace. The critique of utilitarianism opens an abundance of small possibilities, traces of the possibility of another world, another logic, and created by drives that are exogenous to the logic of the system that they live under. <br /><br /> The utopian trace is initially gestured towards through the interaction between the daughter of a circus performer, Sissy Jupe and her future guardian, Mr. Gradgrind at the school that Mr. Gradgrind had organized to enact his utilitarian principles. <br /><br /> ‘Girl number twenty,’ said the gentleman, smiling in the calm strength of knowledge.<br /> Sissy blushed, and stood up<br /> ‘So you would carpet your room—or your husband’s room, if you were a grown woman, and had a husband—with representations of flowers, would you?’ said the gentleman. ‘Why would you?’<br /> ‘If you please, sir, I am very fond of flowers,’ returned the girl<br /> ‘And is that why you would put tables and chairs upon them, and have people walking over them with heavy boots?’<br /> ‘It wouldn’t hurt them, sir. They wouldn’t crush and wither, if you please, sir. They would be the pictures of what was very pretty and pleasant, and I would fancy—’<br /> ‘Ay, ay, ay! But you mustn’t fancy,’ cried the gentleman, quite elated by coming so happily to his point. ‘That’s it! You are never to fancy.’<br /> ‘You are not, Cecilia Jupe,’ Thomas Gradgrind solemnly repeated, ‘to do anything of that kind.’<br /> ‘Fact, fact, fact!’ said the gentleman. And ‘Fact, fact, fact!’ repeated Thomas Gradgrind.<br /> ‘You are to be in all things regulated and governed,’ said the gentleman, ‘by fact. We hope to have, before long, a board of fact, composed of commissioners of fact, who will force the people to be a people of fact, and of nothing but fact. You must discard the word Fancy altogether. You have nothing to do with it. You are not to have, in any object of use or ornament, what would be a contradiction in fact. You don’t walk upon flowers in fact; you cannot be allowed to walk upon flowers in carpets. You don’t find <a href="https://www.blogger.com/null">that foreign birds and butterflies come and perch upon your crockery</a>; you cannot be permitted to paint foreign birds and butterflies upon your crockery. You never meet with quadrupeds going up and down walls; you must not have quadrupeds represented upon walls. You must use,’ said the gentleman, ‘for all these purposes, combinations and modifications (in primary colours) of mathematical figures which are susceptible of proof and demonstration. This is the new discovery. This is fact. This is taste.’ (Dickens 13-14)<br /><br /> At its most immediate level, the passage is a critique of the utilitarian classroom and its desire to reduce the complexity of human life into a table of facts and figures. The classroom is immediately marked as a disciplinary space, a space that both demands obedience from its subjects and transforms the complexity of life to a series of rote answers. Earlier in the novel, the space is referred to as dictatorial. Within Dickens’ own sentimental economy, the utilitarian reform school takes the form of a bully that destroys, rather than builds the subjectivity of the children who enter its classrooms. The disciplinary lesson takes the form of a rather one-sided debate over how one should decorate one’s home. The two instructors fail to bully young Cissy Jupe into rejecting the representation of flowers as an acceptable decoration for one’s living room carpet for the simple fact that actual flowers would not be found on a living room floor. It’s hard not to see Dickens’ satirical tendencies within this exercise of reductio ad absurdium. Articles of daily life are suddenly presented as threats to the very fabric of reality as a virtual form of madness that could turn the world upside down.<br /><br /> At the same time, the passage introduces a significant opposition that defines the rest of the novel. The reductivist world of facts is place in opposition to the world of ‘fancy’, a world that must be destroyed. The world of ‘fancy’ disrupts the world of facts by contradicting them. It points to a world where ‘foreign birds and butterflies come and perch upon your crockery’ and random quadrupeds roam the walls of suburban living rooms. ‘Fancy’ within this context points obliquely to a world where the facts of utilitarian life are contravened, and the possibility of another life is pointed to. This opposition is only intensified when the book turns to the education of the children of Mr. Gradgrind and the term fancy which creates the conditions for another world is then connected to the world of the fantastic, whether in the form of folk or fairy tales or in the figures of a variety of monsters. The narrow and reductionist nature of their education, one that focused on the world as it exist and requires the exclusion of monsters who disrupt the inevitability of Coketown.<br /><br /> The question of fancy is then picked up several pages later in one of the many authorial interjections in the novel, framing its qualities in relationship to the working life of the many hands who produce the abundant wealth of the community.<br /><br /> Is it possible, I wonder, that there was any analogy between the case of the Coketown population and the case of the little Gradgrinds? Surely, none of us in our sober senses and acquainted with figures, are to be told at this time of day, that one of the foremost elements in the existence of the Coketown working-people had been for scores of years, deliberately set at nought? That there was any Fancy in them demanding to be brought into healthy existence instead of struggling on in convulsions? That exactly in the ratio as they worked long and monotonously, the craving grew within them for some physical relief—some relaxation, encouraging good humour and good spirits, and giving them a vent—some recognized holiday, though it were but for an honest dance to a stirring band of music—some occasional light pie in which even M’Choakumchild had no finger—which craving must and would be satisfied aright, or must and would inevitably go wrong, until the laws of the Creation were repealed? (Dickens 30)<br /><br /> Fancy within this context takes on another shape, one of simple relief and relaxation. It becomes an escape from the ordinary monotony of daily life, an escape from toil and monotony of factory life. The drive towards also powerfully reflects the fact that the life of utilitarian reason, while producing so much for the middle classes has produced ‘nought’ for the masses of workers who have produced that wealth. Fancy not only represents a form of escape, but a demand as well. It represents an attempt to create a meaningful life within a life that is primarily defined by rote repetition. That meaningful life is then constructed out of the detritus of industrial production, forms of popular music, what would in the future become pulp literature, and dives and dancehalls of the city. It would be easy to reduce these pleasures to simply a precursor to the forms of mass entertainment that would define the era of Fordist production, and to an extent, this material does presage that moment, but it also represents a powerful demand, a demand for a world that focuses on use rather than exchange and the desire for a life that is meaningful for its participants. These two points continually exceed the commodity forms associated with them.<br /><br /> The novel then interweaves this critique throughout the novel, returning to it in its interstices, frequent authorial interjections, and pronouncements that differentiate the novel from most of his work for many critics. The novel pairs the search for pleasure with the search for a meaningful life. The search for pulp literature doubles with the search for genuine meaning at the library, a preoccupation that continually flummoxes the Thomas Gradrinds and Josiah Bounderby’s of the world. At the same time, Dickens respect for the demands of the hands, the working people of the imagined Coketown does not extend to political organization. If the ascendant bourgeoisie are rebuked through the paired figures of Josiah Bounderby and Thomas Gradrind, the novel equally rebukes the attempts on the part of radical workers to organize through the figure of Slackbridge, who mirrors the bombastic rhetoric of Josiah Bounderby as a sort of debased copy of the first figure. The novel is committed to the dignity of the hands but rejects collective political action as the product of demagoguery that matches or even exceeds the demagoguery of the factory owners such as Josiah Bounderby. The novel oscillates between the quiet commitment of the hands to a collective dignity and mutual aid and a political discourse that only manipulates them.<br /><br /> Even as Dickens repeatedly rejects the self-organization of the hands as a meaningful solution to the muddle that is identified by Stephen Blackpool, the text refuses to resolve the contradiction through traditional devices of reconciliation such as marriage. The narrative ends with the betterment of two of the characters, but it also ends in the mutual death of Josiah Bounderby and his laborer, Stephen Blackpool without resolution. The satirical tone of the rest of the novel takes on a rather different tone with the death of Mrs. Gradgrind, the long-ignored wife and mother of the Gradgrind family, a lightly comical character up until this point. Mrs. Gradgrind’s final speech immediately expresses a submerged critique of the philosophy of her husband. She asks for pen and paper to write to him, to tell him that there is something that has been left out of his system of knowledge. She notes, “‘But there is something—not an Ology at all—that your father has missed, or forgotten, Louisa. I don’t know what it is. I have often sat with Sissy near me, and thought about it. I shall never get its name now. But your father may” (Dickens 194). The speech returns to the earlier opposition in the novel, between the naïve ethical system of Sissy and the systematic knowledge of Thomas Gradgrind. Returning to that opposition, Mrs. Gradgrind affirms that Sissy’s beliefs contains something in excess of what is contained in Thomas Gradgrind’s narrow worlds of facts, but she can’t put a name to it. At the same time, she recognizes that the organized knowledge might be able to provide that name. <br /><br /> Mrs. Gradgrind then makes a final attempt to put down this knowledge in the form of a letter. The effort fails, but the language describing that failure is highly evocative. The passage reads, “It matters little what figures of wonderful no-meaning she began to trace upon her wrappers. The hand soon stopped in the midst of them; the light that had always been feeble and dim behind the weak transparency, went out; and even Mrs. Gradgrind, emerged from the shadow in which man walketh and disquieteth himself in vain, took upon her the dread solemnity of the sages and patriarchs” (Dickens 194). The message takes the form of a trace of ‘figures of wonderful no-meaning’ that take a form that ‘matters little.’ That trace in turn gestures towards a set of possibilities that were always ‘feeble and dim behind the weak transparency.’ But nonetheless, they constitute a trace of a possibility of another life, one that must be gestured towards, even as it. That sentimentalized trace mirrors the death of Stephen Blackpool who similarly gestures towards other possibilities even as those possibilities are not grounded in the conventional notion of marriage and reproductive futurity. They constitute a refusal of closure or reconciliation even as that refusal is grounded in the figure of the muddle rather than any political formation. <br /><br /> That trace is in a sense a product of the tension between the novel’s desire to recognize the inner life of the working people of England in the novel, to ‘give them a little more play’ to draw on the language of the novel and the phobic response to worker self-organization. However, rather than reading this tension as a failure of the novel, the tension produces a rich sense of symptoms in the series of authorial intrusions and side comments identified by Katherine Kearn. That tension is not resolved and unlike so many industrial novels, there is no effort to suture together the class division through the act of marriage. That lack of resolution also refuses to accept the illusion that the social problems of the novel are somehow resolvable within the confines of the society as it existed. Fancy or Fantasy become a sort of gesture towards a different world, even as it draws from the detritus of the old. Its ineffable nature exposes the limits of that vision even as it gestures towards a novum that cannot be reincorporated into the existing system. robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-49502303632892064862018-11-12T13:13:00.000-08:002018-11-20T12:05:55.266-08:00A Short Posting on The Handmaid's Tale<!--[if gte mso 9]><xml>
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<![endif]--> I found myself thinking about Margaret Atwood’s The Handmaid’s Tale after a brief interaction at a talk at the recent Utopian Studies Conference last weekend. Like the last conference I attended, the conference went well and the panel focusing on feminist utopias and dystopias might have been my favorite panel of the conference. About half the papers of the final panel I attended focused on the novel and the recent HBO adaptation of the novel. The papers by Claire Curtis and Kate Meakin critically examined the adaptation and the way it diverged from the original material of the novel. In both cases, the presenters were critical of the adaptation and particularly its transformation of the originally white nationalist republic of Gilead into a more integrated if equally patriarchal construction. The second presenter, Kate Meakin, went further to explore the way that those troubling aspects of the tv series translated into the recent protests in support of women’s rights that appropriated the image of the Handmaid. She noted that it was particularly problematic to embrace the phrase, Make Margaret Atwood fiction again when the policies being protested had a long history in the oppression of women of color. Far from being a product of Margaret Atwood’s imagination, most of these policies had been enacted to restrict the reproductive rights of women of color, a point that Atwood herself makes in the novel itself.<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn1">[1]</a><br />
<br /> In the comments section, I brought up the issue of the protests and noted that the protests tended to ignore the larger framing of the novel, one in which the Handmaids are in some sense relatively privileged in comparison to the women sent to deaths in the colonies or the African-American population who were almost certainly exterminated within the framework of the novel. The panelists were rightly critical of my poorly chosen framing of the analysis. Privilege is certainly the wrong word to use in conjunction of a population who must face the sort of intense domination and sexual violence that the Handmaids face, but the comment does gesture towards the nuanced manner that the fictional republic used to avoid the construction of a rebellion in the form of a ‘women as a class.’ The narrative marks the forms of resentment that create divisions between the Handmaids and the Marthas as well as the even wider gulfs between these figures and the various wives within the republic, who themselves are divided by class within the white republic. At the same time, those figures are incorporated within the republic even as they are systemically excluded from its public sphere distinguishing them from the women who are exiled to the colonies, the Jezebels on the margins of the society, and the populations exterminated by the regime.<br /><br /> One of the most powerful aspects of the book is the way that the book explores this dense disciplinary network of surveillance through the interior voice of the Handmaid, Offred. As Atwood notes in her earlier comments on the novel, Offred isn’t a rebellious figure and is a figure that tries to survive in the society as it exists, even as she tries to find a way out of it. Atwood goes even farther, referring to the character as a ‘coward.’ As one of the panelists, Claire Curtis, noted, the desire to survive within the book and the show often comes at the expense of others. For my interpretation, the desire to survive also involves a need to engage with the rules set that is created by the Gilead Republic, an engagement that unavoidably involves a degree of internalization of those very rules. The figure of Offred becomes the vehicle to explore this deeply ambiguous mixture of a desire to escape, to rebel against the republic and at the same time, the perhaps even necessary complicity with that oppression both against herself and other populations.<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn2">[2]</a> The resentments over the small differences in the regime’s treatment of different groups of women and the slights from other women are richly represented in the figure. It also captures the way that the threat of exile or death becomes another way to get the wives, handmaids, and marthas to perform the role of enforcers of their own oppression.<br /><br /> In this sense, the novel provides a much more thoroughly developed feminist analysis than I had previously given it credit. The Gilead Republic operates through a mixture of direct and indirect patriarchal sovereignty and, at the same time, the deployment of the techniques of sexuality that Foucault discusses in his first volume of The History of Sexuality. This combination winds up taking the form of a sort of diffused panopticism, which in turn leads to a kind of internalization of the logic of the regime by the women who live within it. That internalization doesn’t take the form of some sort of blanket brainwashing, which would have brought the novel into the kind of broad satirical critique that one gets from The Stepford Wives. Instead, it entwines that complicity with the very real and understandable desire to survive. In this sense, the republic succeeds by producing a sort of stasis, shifting the antagonism of the women of the society from dominant structures of that society to each other. In this sense, the disciplinary mechanisms of the society diffuse antagonism and allow for a functioning system. Most of the women within the novels are aware that the society is oppressive, but at the same time are far more consumed by the micro-conflicts between the various groups of classification set up by the republic. The disciplinary mechanisms operate through a process of individualization, depending on often deeply personal apparatuses of control, as well as the construction of a grid-like pattern of intelligibility, creating groups with their own functions, rights and responsibilities. Difference is both manufactured at the behest of patriarchal power and at the same time meaningfully creates differences within those dominated groups, inhibiting the possibilities of rebellion.<br /><br /><a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref1">[1]</a> Interestingly, Atwood has herself strongly embraced the structure of the protests as well as played a significant role in structuring the new television series. In this sense, we’re returning to the book to not only critique the reception of the novel, but the revised authorial interpretation of the work<br /><br /><a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref2">[2]</a> The paper by Claire Curtis particularly focused on the question of survival and the implications of the protagonists decision to survive on those around her.robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-42417150715454196782018-07-31T20:20:00.001-07:002018-07-31T20:27:39.185-07:00An Introduction to a discussion of The Female Man<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
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</xml><![endif]-->I committed my first revolutionary act yesterday. I shut the door on a man’s thumb. I did it for no reason at all and I didn’t warn him; I just slammed the door shut in a rapture of hatred and imagined the bone breaking and the edges grinding into his skin. He ran downstairs and the phone rang wildly for an hour after while I sat, listening to it, my heart beating wildly, thinking wild thoughts. Horrible. Horrible and wild. I must find Jael. <br />
<br />
Women are so petty (translation: we operate on too small a scale). <br />
<br />
Now I’m worse than that—I also do not give a damn about humanity or society. It’s very upsetting to think that women make up only one-tenth of society, but it’s true. For example: <br />
<br />
My doctor is male. <br />
My lawyer is male. <br />
My tax-accountant is male. <br />
The grocery-storeowner (on the corner) is male. <br />
The janitor in my apartment building is male. <br />
The manager of the neighborhood is male. <br />
My landlord is male. <br />
Most taxi-drivers are male. <br />
The designers of my car are male. <br />
The factory workers who made the car are male. <br />
The dealer I bought it from is male. <br />
Almost all my colleagues are male. <br />
The Army is male. <br />
The Navy is male. <br />
The government is (mostly) male. <br />
I think most people in the world are male. (Russ 203-204) <br />
<br />
Joanna’s declaration of war contained in the conclusion of The Female Man has produced a number of valuable symptomatic readings by critics, particularly in the novel’s initial reception. As Sarah Lefanu has noted, the particular section of the text has been labeled as ‘hysterical’, ‘angry’, defensive’, amongst other dismissals. (Lefanu 19) It’s also one of a small number of passages that have given the novel its reputation as a particularly violent text. As a number of critics<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn1">[1]</a>, particularly Russ herself, have pointed out, the number of acts of violence are fairly limited compared to any number of contemporary science fiction texts. (Russ 144-5) However to remain on that surface level of analysis, one loses the ability to ask why the novel has produced these particularly errant effects. Answering that question involves a serious engagement with the political project found in Russ’s critical reading and rewriting of the literary conventions of science fiction, and with the form of the novel itself, an engagement that can only be understood within those literary traditions of science fiction. To put it another way, we need to read Russ’s work in the terms introduced by Sarah Lefanu in her text on feminist science fiction, In the Chinks of the World Machine, as “a part of science fiction while struggling against it.” (Lefanu 5) For Russ, the project of feminist science fiction is committed to bringing out the full potential of the genre, a potential found in its ability to estrange the ideological assumptions of the present by presenting a potential futurity. <br />
<br />
The section of the narrative opens with a declaration of an opening, of a shift in subjectivity through what is declared a revolutionary act, the act of smashing a man’s thumb into a door. Even as the narrator, Joanna revels in the excess and violence contained in the act, and recoils from its potential consequences, she also declares the act as occurring for ‘no reason at all.’ Indeed, Joanna goes on to declare the action in line with the ‘petty’ nature of women’s activities, which ‘operate on too small a scale.” The text continues by connecting the ‘petty’ acts of women to their systemic occlusion from ‘society’ and even by implication ‘humanity.’ She marks that occlusion through noting the variety of occupations and social positions that women do not hold, positions that deeply shape the daily lives and horizons of expectations for those women. The productivity of the sexual contract, the construction of women as a sort of commons accessible to a cross class alliance of men is both deeply productive in its ability to harness and discipline the labor of women into a narrow set of reproductive tasks and a profound if implicit act of domination. As has been previously noted, the household as an institution has been consciously developed over the twentieth century, drawing from the models of industrial production developed by Frederick Taylor and Henry Ford, but modifying them to deal with the contingent realities of the household.<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn2">[2]</a> Rather simply imitating the reform processes developed in the factory, the household is industrialized on very different grounds. <br />
<br />
The work of Mariarosa Dalla Costa and Selma James in their pamphlet, The Power of Women and the Subversion of the Community, published in 1972, can contribute to our understanding of the relationship between the occlusion of women from the public sphere of humanity and the modes of social reproduction and consumption in the Fordist regime of accumulation that depends on that occlusion. Through that analysis, we can begin to understand the productive element of the forms exclusion and petty domination that the text attempts to critique. We need to understand those actions within the context of the productive labor that women contributed to the maintenance of that system. Within the context of trying to understand the work of housewives to the social reproduction of Fordism, the authors challenge the limited notions of labor power contained in conventional Marxist analyses, insisting on understanding the unpaid labor of the household as playing a central role in the reproduction of surplus labor, noting. <br />
<br />
The community is not an area of freedom and leisure auxiliary to the factory, where by chance there happen to be women who are degraded as the personal servants of men. The community is the other half of capitalist organization, the other area of hidden capitalist exploitation, the other, hidden source of surplus labor. It becomes increasingly regimented like a factory, what Mariarosa calls a social factory, where the costs and nature of transport, housing, medical care, education, police, are all points of struggle. And this social factory has as its pivot the woman in the home producing labor power as a commodity, and her struggle not to. <br />
<br />
The demands of the women’s movement, then, take on a new and more subversive significance. When we say, for example, that we want control of our own bodies, we are challenging the domination of capital which has transformed our reproductive organs as much as our arms and legs into instruments of accumulation of surplus labor; transformed our relations with men, with our children and our very creation of them, into work productive to this accumulation. (James and Dalla Costa, 11-12) <br />
<br />
The forms of informal social relationships that make up the ‘community’ including the domestic sphere are recognized as playing a significant role in the social reproduction of capitalism. On one hand, Dalla Costa and James recognize the intense political and disciplinary pressure put on the household, pressure designed to increase and intensify the accumulation of capital through the extraction of surplus labor. The household literally becomes the social factor, producing the crucial labor power needed for the entire system to work. The intimate relationships of the household, whether in the form of romance or raising children, are crucial to the reproduction of labor power, transforming the woman’s body into an instrument for the reproduction of capital. On the other hand, the varieties of forms of feminist activism are forms of resistance to that regime, whether they are recognized as that as such. The household is both a space of the social reproduction of capital, and a myriad of forms of resistance, both formally and informally. As such, the disciplining and reproduction of that workplace becomes a central concern, one that involves both private and public interests. The construction of conventions and norms of femininity becomes a regulatory mechanism and way of creating forms of consent for this necessary condition for the reproduction of capital. Despite the attempts on the part of a number of theorists to place the household economy outside the disciplinary and pedagogical apparatuses of the state and capital, we find an institution that is intertwined within the modern capitalist state as any other. <br />
<br />
Although his work in not frequently considered helpful in the field of women’s studies, Marx’s description of the reductive qualities of factory labor can contribute to our understanding of this situation. The immense cooperative capacity of the factory, its power, is dependent on a reduction of the activities of the individual workers that make up that collectivity. Marx forces us to recognize the repressive violence contained in that process that reduces labor to an increasingly small set of rote, physical gestures. He notes, “Factory work exhausts the nervous system to the uttermost; at the same time, it does away with the many-sided play of the muscles, and confiscates every atom of freedom, both in bodily and in intellectual activity. Even the lightening of the labor becomes an instrument of torture, since the machine does not free the worker from the work, but rather deprives the work itself of all content.” (Marx, Capital, 548) At a surface level, Marx’s description captures the repressive nature of the disciplinary structure of the factory, the experience of physical, emotional, and intellectual pain produced by such an operation. He links that pain to a state of unfreedom, both intellectually and physically, marking the profound destruction of the potentiality contained in the body and the mind. Moreover, he argues that this act of violence is inescapable within the logic of the regime of accumulation that is capitalism. <br />
<br />
But we have to understand that this particular repression is a secondary effect of capital’s domination. The primary effect is the unleashing the profound productive capacities of the factory in order to facilitate the production of surplus value. Anachronistically, the regime of accumulation produced by the factory is dependent on the production of the docile body of the mass worker. The analogy between the social factory of the home and the industrial factory has its limitations, in the forms of sociality contained in the respected locations, and the relationship each plays to social reproduction and production respectively, but the connection nonetheless allows for a way of connecting both to the expanded regime of accumulation, along with its costs. Moreover, each aspect of this regime can be understood as the result of the geometry of forces that might be reductively called the class struggle, the struggle between the complex and at times contradictory forces of living labor, and the logic of accumulation of capital, the geometry of forces, it might be added, that created the conditions in which women could be treated as a form of the commons by a cross class alliance of men. <br />
<br />
Turning back to the text, we find a world in which ‘most people in the world are male.’ That world, the world of the public sphere, operates through the exclusion of women, who only make up 1/10th of that world. Similar to the world of the mass factory worker as described by Marx, we need to understand the acts of repression and exclusion that separate the public from the private, the domestic labor of social reproduction from the production of value in the public sphere. The small and petty act of shattering a man’s thumb acts as the rhetorical destruction of the distinction of the two spaces, of the act of enclosure that constructs that very act of distinction.<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn3">[3]</a> The act of smashing a thumb holds additional significance, referencing the legal structures of patriarchal violence legitimated by the American legal system, structures that were revealed as a part of the collective historical project that arose out of the radical and cultural feminist political engagements. In that context, Joanna’s act can be defined as an act of transgression, rather than liberation, a temporary respite from the tyranny of enclosure, and presumably the first act of many. After all, Joanna recoils from the very real consequences contained in her act, gesturing towards a continuation of the status quo. The text oscillates between these small acts of resistance and the expansive vision between a multiplicity of worlds, radically different social systems, containing radically different economic, social, and political forms. The act of shattering a thumb mushrooms into a shift from inactivity to activity, in the form of an implicit entrance into the women’s movement<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn4">[4]</a>, disrupting the myriad of forms of common sense that produce the forms of common sense that allow for the construction of social hegemony. <br />
<br />
That explosion of possibilities can only be understood within the horizon of the social movements that defined the time of the text’s production. The Female Man was produced between the years of 1969-1971 with an additional three years to find a publisher for the text. At that same time, we see the crystallization of a series of structural crises in the capitalist world system, transforming into what Immanuel Wallerstein argues constitutes ‘a single revolution.’ (Wallerstein 355) That revolution constituted a challenge to the U.S. hegemony of the world system, and a challenge and protest ‘against the “old left” antisystemic movements (Wallerstein 358). It shattered the world created by the failed and partial transformation of those previous social movements, and its mixture of social mobility and social control. In doing that, it ended a series of assumptions about radical transformation, and the role of minoritarian groups, moving from a conventional assumption that the problems of minoritarian groups would be resolved after the revolution. As Immanuel Wallerstein notes that after 1968, none of the minoritarian struggles “would ever again accept the legitimacy of “waiting” upon some other revolution.” (Wallerstein 363) The radical feminist movements that exploded globally were a prime example of that refusal to be put into the waiting room of history. <br />
<br />
Reading both the polemical work of the period along with the retrospective historical analysis produced by Alice Echols in Daring to Be Bad allows for one to recognize the breadth and depth of that struggle. Thousands of formal and informal political circles formed and broke up in the period, meeting to engage in consciousness raising sessions, organizing protests, and challenging a variety of cultural and political organizations, ranging from conventional women’s magazines to countercultural institutions such as underground newspapers and a variety of new left groups. As Echols notes, radical feminists both challenged liberal feminism’s attempt to fight for formal equality within the contemporary structures of domination of the capitalist world system, and rejected the radical left’s placement of class as the primary contradiction, instead positing an alternative primary contradiction of women as a sex-class. (Echols 3-7) Despite the attempt to construct a united class project, radical feminism did not constitute a homogenous project, defined as much by its explosive conflicts, personal attacks categorized as ‘trashing’ by the movement, its multiplicity of political approaches, as much the movements commitment to unity. (Echols 51-101) Every attempt to construct a stable foundation for the category of woman translated into even more expansive conflicts and contradictions, even greater political and theoretical instability. At one level, we can understand this failure at a theoretical level, the inability to recognize the extraordinary historical contingency tied to the class category that radical feminists wanted to understand as a trans-historical one. One can turn to the work of any number of Black feminist thinkers to see those criticisms.<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn5">[5]</a> At the same time, this instability aligns with the very nature of the revolutionary project. Antonio Negri’s analysis of Marx’s Grundrisse offers a useful lens for this aspect of revolutionary politics through his critique of the dialectic along with his conception of class, a concept he draws from the work of Mario Tronti and expands upon. <br />
<br />
Before we look at Negri’s critique of the dialectic, we should first turn to the concept of class, a concept central to radical feminism, through its construction of women as a class. The novel draws on the concept of women as a class and explores its potential construction as a central point of the novel, through the collective engagements of women from four very different versions of the Earth. Turning to Negri allows us to explore the idea of class composition, a concept that is referenced in the feminist turn to understanding women as a class, but is not theoretically developed. Instead, radical feminist take this category for granted, conceiving of it as a trans-historical concept, rather than one born out of a very particular history. Negri’s work does something very different, despite some of its limitations. Negri, following the work of Mario Tronti, conceives of class composition as a result of the terrain of struggle, rather than its cause. To put it another way, class identities are produced through the formation of working class institutions, cultural forms and common sense assumptions produced in the conflict with a variety of dominant institutions. Class identity is a result of a history of struggle, rather than a cause of it, and as such, is continually mutating into different forms as it breaks apart and coagulates together within the terrain of the class struggle. <br />
<br />
This alterative concept of collective class identity is deeply embedded in Negri’s reconceptualization of the dialectic. Negri argues that the dialectic represents the struggle between labor and capital from the perspective of capital. Because of its need for the force of living labor, capital can never entirely succeed in what might be considered a complete victory, in the annihilation of the alterity of its opposite, is impossible. Instead, it draws on the logic of the dialectic, continually trying to come up with forms of mediation to neutralize this force, to come up with new modes of synthesis, which will accomplish the impossible, the incorporation of this alien force, the proletariat in its many guises. The logic of the force of living labor operates from a considerably different perspective, that of antagonism. Unlike capital, the collective assemblage of living labor can easily exist without the organizing logic of capital. Its project is defined by the multiplicity contained in the non-value defined as use value within Marx’s project, the dense thicket of needs, structures, and relationships that exist outside the logic of capital, but are necessary for its reproduction. Cleaver spells out the implicit telos of this alternative and antagonistic project in his introductory notes to Negri’s text. <br />
<br />
The antagonistic logic of working-class separation reaches its conclusion as it explodes and destroys capital’s dialectic. It explodes all binary formulae, as Negri says, bursting the dialectical integument and liberating a multi-dimensional and ever-changing set of human needs and projects. (Cleaver xxvi) <br />
<br />
If the dialectical logic of capital finds its highest form in the increasingly thinly mediated moments of synthesis, then the logic of its opposite explodes that binary into a dense and complex explosion of forces, a multiplicity that aligns itself with the form of non-value and refusal of equivalence contained in the category of use, that Cleaver describes us as “a multi-dimensional and ever-changing set of human needs and projects.” That explosion, the explosion of needs, desires that are linked into a set of new collectivities, new subjectivities are inextricably linked with a dense array of texts, taking the form of manifestos, theoretical analyses, rants, poetry, and fiction. Turning back to the radical feminist movement, we find alongside its political engagements a prodigious textual production, operating at the performative, critical, and analytical level to shatter the forms of domestic containment discussed in the previous chapter, to unleash the suppressed multiplicity disciplined in service of the accumulation of capital.<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn6">[6]</a> Joanna Russ explicitly embraces this revolutionary project in her text, the destruction of imagining its own obsolescence produced through the revolutionary transformation to come.<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn7">[7]</a> In order to make sense of how science fiction is brought into service of a revolutionary project, we need to shift from the broad historical conversation contained above, into the exploration of the formal qualities of the novel, that is, its strategies for estranging and dismantling the regime of domestic labor of the post war period, and the particular intersection of the discursive formations of femininity and sexuality that produce its infrastructure. To do so, we need to begin with a generic engagement with the novel, only to move onto the modes of temporality and subjectivity contained in the novel. Only then, can we appreciate the radical engine of destabilization contained in the text. <br />
<br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref1">[1]</a> For a longer discussion of this, see Sarah Lefanu, In the Chinks of the World Machine: Feminism and Science Fiction (London: The Women’s Press Ltd., 1988). See Tatiana Teslenko, Feminist Utopian Novels of the 1970’s: Joanna Russ and Dorothy Bryant (London Routledge Press, 2003) for a feminist reading that replicates some of these assumptions. <br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref2">[2]</a> For a longer conversation, read Ruth Schwarz Cowan, More Work for Mother (New York: Basic Books, 1983), McHugh, Kathleen Anne. American Domesticity: From How-to Manuel to Hollywood Melodrama. Oxford: Oxford University Press, 1999, and Stein, Sally. ‘The Graphic Ordering of Desire: Modernization of a Middle Class Women's Magazine 1914–1939’, Heresies, 18, 1985. <br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref3">[3]</a> A more immediate reference might be the misogynist song by The Rolling Stones, “Under My Thumb.” <br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref4">[4]</a> See Lisa Maria Hoagland, Feminism and Its Fictions: The Consciousness Raising Novel and the Women’s Liberation Movement (Philadelphia: University of PennsylvaniaPress, 1998) for an example of this interpretation of the novel. <br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref5">[5]</a> See bell hooks, Feminist Theory: From Margins to Center (Cambridge, MA: South End Press, 2000), Audre Lorde, Sister Outsider: Essays and Speeches (Berkeley, CA: Crossing Press, 1984) are two early examples, but we can find a significant archive beyond these two texts. <br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref6">[6]</a> See, liberation now!: Writings From The Women’s Liberation Movement, Ed. Deborah Babcox and Madeline Balkin (New York, Dell Publishing, Inc,, 1971), Sisterhood is Powerful; an Anthology of Writings From the Women's Liberation Movement, Ed. Robin Morgan (New York: Random House, 1970) <br />
<br />
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref7">[7]</a> “Do not complain when at last you become quaint and old-fashioned, when you grow as outworn as the crinolines of a generation ago and are classed with Spicy Western Stories, Elsie Dinsmore, and The Son of the Sheik; do not mutter angrily to yourself when young persons read you to hrooch and hrch and guffaw, wondering what the dickens you were all about. Do not get glum when you are no longer understood, little book. Do not curse your fate. Do not reach up from readers’ noses. <br />
<br />
Rejoice, little book! <br />
<br />
For on that day, we will be free. (Russ 213-214)robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-50323678377226994482018-06-20T17:29:00.000-07:002018-06-20T17:29:29.232-07:00tensions within the definition of utopia Thomas More created the word utopia with a deliberate contradiction. The word is a deliberate play between the term eutopos, the good place and outopos, no place. Tensions over the meaning of the word have only intensified over the succeeding centuries, and one can now find a multiplicity of definitions of the term that are not only mutually exclusive, but are radically disconnected from each other. It would be futile to try to cover the full extent of the proliferation of meanings that the term has taken, but many of those meanings have taken the form lazy polemics against any effort to create a more socially just word and aren't really worth the engagement. Instead, I want to look at the way the term has been taken up in very different and distinct ways in relationship to a series of radical projects, notably the anti-utopian turn of thinkers ranging from Michel Foucault to James C. Scott, the embrace of the term by Ernst Bloch, and finally the subsumption of the term into the generic framework of science fiction by radical critics such as Darko Suvin.<br />
<br />
Before I get into that conversation, it's remarkable to the degree that these distinct camps, those who reject and embrace the term, don't engage with one another. In each case, the term not only takes on a different meaning, but is placed in reference to radically different objects and social formations. The utopian project critiqued by Michel Foucault and James C. Scott is distinctively a state formation, although Foucault is focused on the forms of knowledge that construct that state formation, directed towards creating spaces that are easily comprehended by an outside observer. For instance, both thinkers discuss the organization of the French state, and in particular, the efforts to transform Paris into a kind of garden city. The utopian state project transforms the muddle of daily life into something that is easily graspable within a single gaze. It reduces complexity to create order. Foucault's rather lengthy description in <i>The Order of Things</i> provides a useful description of this particular framework.<br />
<br />
<i>Utopias</i> afford consolation: although they have no real locality there is nevertheless a fantastic, untroubled region in which they are able to unfold; they open up cities with vast avenues, superbly planted gardens, countries where life is easy, even though the road to them is chimerical. <i>Heterotopias</i> are disturbing, probably because they secretly undermine language, because they make it impossible to name this and that, because they shatter or tangle common names, because they destroy 'syntax' in advance, and not only the syntax that we construct sentences but also that less apparent syntax which causes words and things (next to and also opposite one another) to 'hold together.' This is why utopias permit fables and discourse: they run with the very grain of language and are part of the fundamental dimension of the <i>fabula</i>; heterotopia (and those to be found so often in Borges) desiccate speech, stop words in their tracks, contest the very possibility of grammar at its source; they dissolve our myths and sterilize the lyricism of our sentences. (Foucault xviii)<br />
<br />
For Foucault,the utopia brings together the ease of the gaze with the flow of the narrative. It is a place of order untroubled by the complexities and contradictions of ordinary life. It's a space that is simultaneously impossible but easily imaginable. It's not hard to see the connection between this vision and the structures of knowledge that Foucault discusses in the initial section of the text itself, the grids of intelligibility created by figures such as Linneus. We find our space of tables and grids, individualization constructed through forms of gradation and differentiation. It's also tempting to draw a line from this conception to Foucault's later critique of the prison found in <i>Discipline and Punish</i>. The panopticon, after all, operates through the internalization of the gaze of the prison guard, which can only occur through the potential universal access of that gaze. At the same time, Foucault still holds onto the tension as created by More. After all, utopias 'have no real location' and are 'fanastic.' Within this context, it's not surprising that he creates a tension between the 'fantastic' utopia and the indescribable but very concrete and real heterotopia. The latter shatters the illusion of the order of the former with its messy complexity of daily life.<br />
<br />
It's hard not to see a strong connection between this critique and the critique presented by James C. Scott in his text, <i>Seeing Like a State</i>. Scott begins his text by looking at German forestry in the 18th century and moves into a discussion of state projects, ranging from the attempt to reorganize the rationalize the city of Paris in the 19th century to agricultural projects in the United States and the Soviet Union in the 20th century and the construction of the city of Brasilia. Through that process, Scott critiques a phenomenon that he labels 'high modernism.' 'High modernism is an attempt to create a sort of order and productivity through a process of simplification. To give a sense of the project, Scott opens by describing efforts on the part of German Foresters to expand lumber production. These individuals come to the conclusion that the production of lumber is being limited by the scrub and underbrush of the forest. This junk, the hypothesize, is getting in the way of the trees growing as quickly as they can. They then went about removing all of the underbrush in order to allow for the most efficient growth of the forest. The plan went well for the first few years, but then the forests collapsed. It turns out all of that underbrush was crucial for the working ecology of the forest. In this sense, Scott also replicates the tension found both in Foucault and in More. The high modernist project turns out to be a chimerical fantasy that can only be implemented by force and results in only disaster.<br />
<br />
Utopia's sympathizers imagine a very different framework for the utopian impulse, focusing on the literary tradition of the word and on a very different reception history, the unintentional and unruly uptake of the tradition by social movements. Probably the most intense version of this perspective is taken up by the German philosopher Ernst Bloch, who offers a radically different understanding of the word than any other person discussed in this posting. Bloch against the tendency of later thinkers who borrow from his framework, shows very little interest in the literary tradition of the utopia. Bloch is not a genre theorist and finds those works a distraction from the phenomenon that he wants to discuss. For Bloch, one must understand the utopia as a sort of impulse, a trace that marks out the existence of other possibilities, for other ways of life. Bloch looked for this trace in every conceivable place, from dreams to advertisements to the formation of the Ku Klux Klan. These traces pointed to other possibilities of life and the desire for transformation in even the vilest of social formations. It was also an impulse that he linked to insurrectionary social movements, most notably the eschatological formations created by Thomas Muntzer and others during the civil wars of Germany in the 16th century. Throughout all of these examples, Bloch looks for the expression for the desire for something new, something different. Bloch frames this impulse through the concept of the Novum, "the unexpectedly new, which pushes humanity out of its present towards the not yet realized<span style="font-family: "palatino linotype";">" (Moylan para 4).</span><br />
<br />
Despite his aversion to the generic formation of the utopia, Bloch's insights were most quickly embraced by a school of science fiction critics who were interested in embracing the utopia as the forerunner of the genre of science fiction. This branch of thought is largely started through the work of Darko Suvin and his work on the genre, notably his text, <i>The Metamorphoses of Science Fiction</i>, but the work has been taken up by a variety of other critics such as Philip Wegner and Fredric Jameson. Suvin emphasizes a number of things about the genre that distinguish his take from the above thinkers. Most significantly, Suvin conceives of the utopia within the shifts in the understanding of history that were going on at the time of the construction of utopian narratives. Suvin notes that there is a radical shift in the nature of More's narrative. Rather than imagining a sort of golden age, More imagines a community that has a sort of history, a beginning and just as significantly, an open and unfolding process of becoming. The nation has come across a set of rules that work for it, but it also continues to interact and transform its neighbors. (Interestingly, Benedict Anderson makes a similar observation about the construction of utopian narrative forms and the rise of the empty homogeneous time that undergirds the logic of the nation-state, which is synthesized in Wegner's <i>Imaginary Communities: Utopia, the Nation, and the Spatial Histories of Modernity</i>.)<br />
<br />
Suvin takes up the concept of the Novum as developed by Bloch and uses it as a key term for the understanding of science fiction. The Novum still remains a novelty that points to something new, but that newness loses the eschatological framework that dominates Bloch's thinking. The Novum continues to be some sort of novelty, whether in the form of some sort of invention or some sort of sociological or political transformation, but instead offering a moment of redemption, the Novum creates the conditions for the kind of totalizing cognitive estrangement, which presents a radically different society. Contrary to many of his critics, Suvin is far less concerned about the technoscientific veracity of such a Novum, and is far more concerned about its engagement with its engagement with the class struggles that define its present. Within this context, the work of H.G. Wells is more significant than the work of Jules Verne, despite Verne's greater concern with technoscientific veracity. In effect, the Novum becomes a way of using the shifts in the concept of time that were introduced with capitalist accumulation in order to imagine radically different ways of life. Suvin looks to the Novum to provide the means to imagine new ways of life, but ways of life that still remain historical in nature, even if the future societies are different.<br />
<br />
In the end, these particular takes on the word are irreconcilable. Constructing an antagonism between the camps would itself assume too much ground. Instead, the two perspectives constitute a kind of non-relationship, perhaps close to what Jean Francois Lyotard refers to as the Differend, "a case of conflict, between (at least) two parties, that cannot be equitably resolved for lack of a rule of judgement applicable to both arguments. One side's legitimacy does not imply the other's lack of legitimacy (Lyotard xi). My own work has tended to work on one side of this bifurcation or another. For instance, my readings of China Mieville like many other critics has framed that work in relationship to hybridity and heterotopia, while my work on writers such as Ursula Le Guin has engaged with the utopian tradition, again, not unique. Just as significantly, I've found myself continually returning to the work of Suvin, who draws on the tradition to frame the history of the development of science fiction. Utopia within that context is a continual haunting, a gesture towards other possibilities and a refusal to naturalize the present. At the same time, Foucault and Scott's critique of high modernism has an equally significant influence over how I think of social and political projects, ranging from long term prospects for transformation to the processes of daily life. I suspect that this disjunction will not be changing any time soon.robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-53187907302090254622018-05-31T17:46:00.001-07:002018-05-31T17:47:32.014-07:00a short update It would seem that every time that I make any sort of promise about future activity on this blog, I find myself breaking those promises for any number of reasons. My last posting was no exception it would seem. I've been fairly busy for the past couple months teaching. It's the first time I have had to deal with four classes at the same time, and it was a bit overwhelming for me. I'm hoping that I will be in a better position to deal with that kind of workload in the near future. In addition, I'm about to go in for hip replacement surgery in the next couple weeks and I've been dealing with that reality as well, but, if I'm going to be honest, I've also hit a bit of block in terms of writing as well, and haven't gotten much writing accomplished aside from the short talk that I gave at the Comparative Literature conference in Los Angeles a month or so ago. My hope is that I will be able to take more time to work on the blog as well as my academic writing over the summer as I recover from my surgery. I'm in the process of reading the material for the upcoming Hugo Awards, which are finally fully Puppy free, and still want to put something together about Charles Dickens' <i>Hard Times</i>. I'm not sure if I will get around to either any time soon though. I might also put up a draft of my talk at the conference, which is an essay about George Schuyler's <i>Black No More</i>, a book that I highly recommend if you have not read it yet. In any case, I wanted to supply a short update and this is it.robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-12649646079699423262018-01-30T11:58:00.000-08:002018-01-30T11:58:18.298-08:00Gramsci and Chakrabarty: Some Thoughts<!--[if gte mso 9]><xml>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;">I thought that I would rescue another older paper and put it up on the blog. In this case, its an essay about Gramsci and he work of Chakrabarty that I wrote for a class on Gramsci about seventeen years ago. At this point, I'd probably write a far different paper, being far more skeptical of Chakrabarty at this point in my life and far more sympathetic with the work of Gramsci. Because of that, I'm going to leave the essay as it is and I've made no edits to the essay as it was originally written. </span></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>There has been a considerable
transformation in the word subaltern from the time that Gramsci first
appropriated it to the manner that it is deployed within current theoretical
methodology.<span style="mso-spacerun: yes;"> </span>A movement that redeploys
the word from one indicates a certain type of subordinate officer to one that
implies a connection to a complex series of hierarchical relationships.<span style="mso-spacerun: yes;"> </span>There is an interesting genealogical project
implicit in that statement, in which one can move from Gramsci to Guha in a
similar manner in which one can move from Gramsci to Mouffe.<span style="mso-spacerun: yes;"> </span>However I’m interested in something else, in
circling back in order to use the concepts which Gramsci set into motion.<span style="mso-spacerun: yes;"> </span>Instead of using Gramsci to read the
subaltern studies collective, let’s read Gramsci through the subaltern studies
collective.<span style="mso-spacerun: yes;"> </span>In a sense, this means
examining Gramsci as individual coming from the margins (the south) of a
marginal country (Italy). This is also a country that it was still ‘immature
Italy’ with ‘no capital to import’<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span></span></span></a>,
but also had sections of the elite strata that saw Imperialism as the tool to
get it out of the crises that it was in, that is between the discontinuous
development between the industrial north and agrarian south.<span style="mso-spacerun: yes;"> </span>To put this another way, it would be valuable
to look at Gramsci as a subaltern thinker working with the tools of European
modernity.</span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>What do I mean by this?<span style="mso-spacerun: yes;"> </span>Gramsci spends a considerable time analyzing
Italian historical development.<span style="mso-spacerun: yes;"> </span>This can
be seen most prominently within the groups of fragments gathered under the
rubric of “Notes on Italian History”, and “The Modern Prince”, as well as some
of the writing under “State and Civil Society.”<span style="mso-spacerun: yes;">
</span>These historical writings can also be supplemented with some of the
notes contained within <i style="mso-bidi-font-style: normal;">Selections from
Cultural Writings</i>.</span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>We need to look at the way the
Gramsci deploys the tools of modern European thought.<span style="mso-spacerun: yes;"> </span>Gramsci is engaged in a certain type of historicism
common to both liberalism and Marxism.<span style="mso-spacerun: yes;">
</span>This historicism in Gramsci’s hand is highly complex and differentiated,
but nonetheless is caught within a certain type of thinking in regards to the
nation-state.<span style="mso-spacerun: yes;"> </span>In effect, the manner in
which the model of the nation that is exemplified by France, and a lesser
extent, England and Germany.<span style="mso-spacerun: yes;"> </span>When one
does that, it is clear that Italy simply cannot live up to those expectations.</span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>A central trope of those writings is
one of inadequacy.<span style="mso-spacerun: yes;"> </span>The text return again
and again to a sense of lacking in Italian politics, culture, and even in the
classes themselves.<span style="mso-spacerun: yes;"> </span>The specter of the
Jacobins and the French popular novel loom heavily over Gramsci’s understanding
of Italian history, and it (Italian history) can never quite live up to what is
expected of it. </span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Interestingly enough, Dipesh
Chakrabarty sees the same phenomenon within Indian history within the first
essay contained in <i style="mso-bidi-font-style: normal;">Provincializing Europe</i>.<span style="mso-spacerun: yes;"> </span>“The tendency to read Indian history in terms
of a lack, an absence, or an incompleteness that translates into “inadequacy”
is obvious in these excerpts.<span style="mso-spacerun: yes;"> </span>As a trope
it is ancient, going back to the beginnings of colonial rule in India.<span style="mso-spacerun: yes;"> </span>The British conquered and represented the
diversity of Indian pasts through a homogenizing narrative of transition from a
medieval period to modernity.<span style="mso-spacerun: yes;"> </span>The terms
have changed with time.<span style="mso-spacerun: yes;"> </span>The medieval was
once called “despotic” and the modern “the rule of law.”<span style="mso-spacerun: yes;"> </span>“Feudal/capitalist has been a later variant.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span></span></span></a><span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Why bring up this seemingly
tangential comment about Chakrabarty’s reading of a series of readings of
Indian history?<span style="mso-spacerun: yes;"> </span>It is important because
in many ways, the two so far apart, stand together in one sense, in the sense
that both are countries recently decolonized through revolutions seen by many
of the parties involved as incomplete.<span style="mso-spacerun: yes;">
</span>Just as Antonio Gramsci describes the Risorgimento as a passive
revolution, one can find the same analysis of Post-colonial India with
Guha.<span style="mso-spacerun: yes;"> </span>Also the process of decolonization
placed both nations in positions of periphery within the global capitalist
order.<span style="mso-spacerun: yes;"> </span>But this global positioning which
is so emphasized within the realm of subaltern studies thought (and most
postcolonial thought) is pushed to the periphery.<span style="mso-spacerun: yes;"> </span>The nation’s failures tend to be internalized
rather than seen within structural terms.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Within “Notes on Italian History”,
these tropes can be seen within the comparisons between the Action Party and
the Jacobins.<span style="mso-spacerun: yes;"> </span>By in large, this is a
trope of failure and lack.<span style="mso-spacerun: yes;"> </span>The axis of
this failure can be seen on the grounds of two overlapping binaries,
1)North/South 2)Urban/Rural.<span style="mso-spacerun: yes;"> </span>In both
cases, the Jacobins succeeded where the action party failed.<span style="mso-spacerun: yes;"> </span>There is an element that is recognized.<span style="mso-spacerun: yes;"> </span>An element out of control of the actors, but
Gramsci de-emphasizes this and returns continually to the trope of the Action
Party failing to recognize what should have been so apparent.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">This becomes clear in his descriptions of both the
Jacobins and the members of the Action Party.<span style="mso-spacerun: yes;">
</span>Let’s begin with the Jacobins. “For not only did they organize a
bourgeois government, i.e. make the bourgeoisie the dominant class—they did
more.<span style="mso-spacerun: yes;"> </span>They created the bourgeois state,
made the bourgeoisie into the leading, hegemonic class of the nation, in other
words gave the new state a permanent basis and created the compact modern
French nation.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span></span></span></a> This
occurred because the Jacobins understood the need to form an alliance with the
masses of the peasantry.<span style="mso-spacerun: yes;"> </span>They put in
place the necessary agrarian reforms, and in response, the peasantry recognized
the hegemony of Paris.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>Compare this
with the comments on the Action Party.<span style="mso-spacerun: yes;">
</span>“The southern peasant wanted land, and Crispi, who did not want to (or
could not) give it to him in Italy itself, who had no wish go in for “economic
Jacobinism”, conjured up the mirage of colonial lands to be exploited.<span style="mso-spacerun: yes;"> </span>Crispi’s imperialism was passionate,
oratorical, without any economic or financial basis.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[4]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span>Similarly Garibaldi is shown to deliberately
ignore the evidence for the southern peasant’s desire for land.</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">The Action Party is repeatedly marked by this
failure.<span style="mso-spacerun: yes;"> </span>It is incapable of seeing the
basis of a bourgeois revolution within the alliance with the agrarian bloc in
the south.<span style="mso-spacerun: yes;"> </span>It refused or was incapable
of seeing beyond what Gramsci referred to as ‘economic-corporate’
interests.<span style="mso-spacerun: yes;"> </span>This was the problem of the
communes of the renaissance, and it reappeared in the Risorgimento.<span style="mso-spacerun: yes;"> </span>In both cases, “the same narrow egoism
prevented a rapid and vigorous revolution like the French one.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[5]</span></span></span></span></a></span></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">One can put this simply.<span style="mso-spacerun: yes;"> </span>The Action Party never had a significant platform.<span style="mso-spacerun: yes;"> </span>“The Action Party lacked even a concrete
program of government.<span style="mso-spacerun: yes;"> </span>In essence it was
always, more than anything else, an agitational and propagandist body…”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[6]</span></span></span></span></a>
It never moved beyond the simple emotional desire for independence now.<span style="mso-spacerun: yes;"> </span>Exceptions such as Piscane were only notable
in that they marked the continual poverty of the cycles of Action Party
leadership.<span style="mso-spacerun: yes;"> </span>Even when the Action Party
came to power in 1870 and 1876, there was no significant change in the
substance of national policy.</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>In reality,
the function of the Action Party was in fact a subordinate one to the
Moderates.<span style="mso-spacerun: yes;"> </span>As Gramsci puts this, “The
Moderates continued to lead the Action Party even after 1870 and 1876, and
so-called “transformism” was only the parliamentary expression of this action
of intellectual, moral and political hegemony.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[7]</span></span></span></span></a>
Despite the expressed by the leadership of the Action Party towards the Moderates,
it was the moderates who dictated the terms of the discussion.<span style="mso-spacerun: yes;"> </span>That discussion was built on an automatic
exclusion of the great masses of the peasantry that made up the vast majority
of the southern part of the nation.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Given the failure for this alliance
to manifest itself, we are left with the alliance created by the
Moderates.<span style="mso-spacerun: yes;"> </span>“Out of the Action Party and
the Moderates, which represented the real “subjective forces” of the
Risorgimento?<span style="mso-spacerun: yes;"> </span>Without a shadow of doubt
it was the moderates, precisely because they were also aware of the role of the
Action Party: thanks to this awareness, their “subjectivity” was a superior and
more decisive quality.<span style="mso-spacerun: yes;"> </span>In Victor
Emmanuel’s crude, sergeant-major’s expression “we’ve got the Action Party in
our pocket” there is more historico-political sense than in all Mazzini.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[8]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span>It was their hegemonic block that was the
successful one, the block of the aristocracy and the landowners, but it was one
that, “made the people nation into an instrument, into an object, they degraded
it.<span style="mso-spacerun: yes;"> </span>And therein lies the greatest and
most contemptible demagogy…”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[9]</span></span></span></span></a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>This ties in with the deep-seated
problems with the bourgeois class within Italy.<span style="mso-spacerun: yes;">
</span>As has been said repeatedly, it was incapable of becoming the leading
class.<span style="mso-spacerun: yes;"> </span>It creates a situation in which
the Italian nation can be a ‘bastard.’<span style="mso-spacerun: yes;">
</span>It can only function as a deeply flawed creation.<span style="mso-spacerun: yes;"> </span>Within the creature known as Italy there are
perhaps even two nations, the south and the north with only a common enemy, the
dominance of Austria at the time. The trope of India returns once again, after
all, in both cases isn’t the form of the nation defined from primarily from
without, from the pressures of foreign domination rather than from an internal
pressure.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>“To pose the question in such a way
would have meant asserting in advance an incurable “national” rift—a rift so
serious that not even a federalist solution would have been able to heal
it.<span style="mso-spacerun: yes;"> </span>It would have meant asserting the
existence of separate nations, between which all that could have been achieved
was a diplomatic-military alliance against the common enemy, Austria.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[10]</span></span></span></span></a></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>The only reason that the “nation”
holds together is the “weak position of the Southern urban forces in relation
to the rural forces, an unfavorable relation that sometimes took the form of a literal
subjugation to the countryside.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[11]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span>This places the southern urban forces in an
almost semi-colonial position in its alliance to the northern urban forces. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Gramsci
introduces an interesting concept.<span style="mso-spacerun: yes;"> </span>The
examination of the party can act as an examination of the nation of the whole
from as certain perspective.<span style="mso-spacerun: yes;"> </span>On
understanding that view, the failure and successes of the two parties in the
Risorgimento come to mean something else than particular failures of
individuals, instead they become somewhat symptomatic of the problems of the
nation itself.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>The siting of the location of this
moment of inadequacy continually moves backwards in time within Italian history
to the Renaissance.<span style="mso-spacerun: yes;"> </span>An interesting event
occurs there.<span style="mso-spacerun: yes;"> </span>There is a radical
separation between what the Renaissance does for the rest of Europe in a
progressive function for the construction of the nation state, and a regressive
one with the vantage point of Italy.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>“This claim can be accepted if one
distinguishes within the movement of the Renaissance the break which occurred
between Humanism and the national life which had gradually formed after the
year 1000, if one considers Humanism as a progressive process for the educated
‘cosmopolitan’ classes but regressive from the point of view of Italian
history.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn12" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[12]</span></span></span></span></a></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"> </span></span></span></span> </span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>This is the moment in which Europe
moves forward through the Reformation to the nation-state, and Italy,
ultimately, winds up somewhere very different.<span style="mso-spacerun: yes;">
</span>It is clear that Gramsci sees this clearly within negative terms.<span style="mso-spacerun: yes;"> </span>He like Machiavelli before him lays the
primary blame upon the papacy.<span style="mso-spacerun: yes;"> </span>This is a
legitimate claim.<span style="mso-spacerun: yes;"> </span>They controlled the
educational system and directed towards their own interests.<span style="mso-spacerun: yes;"> </span>Those interests were one clearly defined
around countering the reformation that defined much of the rest of Europe
rather than the issues internal to Italy itself.<span style="mso-spacerun: yes;"> </span>It also has tied its interests in with the
forces of the moderate party, that is the landowners and aristocracy, and
perhaps more significantly, ties to the former controlling nation of Austria.<span style="mso-spacerun: yes;"> </span>After all, the papacy continues to make
claims towards a universal empire that is clearly dead.<span style="mso-spacerun: yes;"> </span>And all of Italy is clearly educated under
the legacy of that empire.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>The notion of inadequacy is
traversed in a quite interesting manner within some of the initial questions
posed within “People, Nation, and Culture”.<span style="mso-spacerun: yes;">
</span>They are as follows, “’Why is Italian literature not popular in Italy…
2.) is there an Italian theatre… which should be connected with the other
question concerning the greater or lesser vitality of theatre in dialect and in
standard Italian?<span style="mso-spacerun: yes;"> </span>3)the question of the
national language as set forth by Alessandro Manzoni; 4)<span style="mso-spacerun: yes;"> </span>whether there has been an Italian
romanticism? 5) is it necessary to provoke a religious reformation like the
Protestant one?<span style="mso-spacerun: yes;"> </span>In other words, was the
absence of broad and profound religious struggles… a cause of progress or
regression?<span style="mso-spacerun: yes;"> </span>6)were Humanism and the
Renaissance progressive or regressive?<span style="mso-spacerun: yes;">
</span>7)the unpopularity of the Risorgimento or the indifference of the masses
towards the struggle for independence and national unity;<span style="mso-spacerun: yes;"> </span>8) the political non-involvement of the
Italian people, expressed in the phases ‘rebellionism’, ‘subversism’ and a
primitive and elementary ‘anti-statism’; 9) the non existence of a popular
literature in a strict sense….”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn13" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[13]</span></span></span></span></a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Implicit within these questions, and
the answers that that follow is an implicit problematic.<span style="mso-spacerun: yes;"> </span>That problematic consists in examining the
reasons for Italy failing to become a nation.<span style="mso-spacerun: yes;">
</span>It is the same question implicit within Guha’s book, <i style="mso-bidi-font-style: normal;">Dominance without Hegemony</i>.<span style="mso-spacerun: yes;"> </span>It isn’t that remarkable that Gramsci uses
that precise formulation in his description of the Risorgimento and Piedmont’s
function.<span style="mso-spacerun: yes;"> </span>“It is one of the cases in
which these groups have the function of “domination” without that of
“leadership”: dictatorship without hegemony.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn14" name="_ftnref14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[14]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span>It isn’t the comparison that is the most
interesting thing; after all, all that proves is that Gramsci’s formula
works.<span style="mso-spacerun: yes;"> </span>No what is interesting is the
thread common to both of them.<span style="mso-spacerun: yes;"> </span>That
lack, where in both the bourgeoisie and the proletariat are incapable of
creating the national popular.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>In the case of Italy, the trope of
France is significant.<span style="mso-spacerun: yes;"> </span>We are introduced
it through the issue of the Jacobins, the issues of literature, etc.<span style="mso-spacerun: yes;"> </span>I think that it is interesting that not only
do the bourgeois force fail because of cosmopolitanism, but also do the
subaltern forces.<span style="mso-spacerun: yes;"> </span>“Culturally speaking,
they are interested in a past that is more French than Italian.<span style="mso-spacerun: yes;"> </span>They use French metaphors and cultural
references in their language and thought.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn15" name="_ftnref15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[15]</span></span></span></span></a>
After all without an authentic national-popular tradition, aren’t they more
interested in questions of French history, French culture, etc.?<span style="mso-spacerun: yes;"> </span>Aren’t the failures implicit in the final
questions, present precisely because of this unlabelled cosmopolitanism? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>The question of literature is an
essential one.<span style="mso-spacerun: yes;"> </span>Once again, Gramsci’s
questions are cogent.<span style="mso-spacerun: yes;"> </span>“The so-called
‘artistic’ ‘national’ literature is not popular in Italy.<span style="mso-spacerun: yes;"> </span>Whose fault is it?<span style="mso-spacerun: yes;"> </span>That of the public, which does not read?<span style="mso-spacerun: yes;"> </span>That of the critics, who are not able to
present and extol literary values to the public?<span style="mso-spacerun: yes;"> </span>That of the newspapers, which publish the old
Count of Monte Crisco instead of serializing the ‘modern Italian novel’?<span style="mso-spacerun: yes;"> </span>But why does the public not read in Italy,
when in other countries it does?<span style="mso-spacerun: yes;">
</span>Besides, is it true that in Italy nobody reads?<span style="mso-spacerun: yes;"> </span>Would it not be more accurate to state the
problem in this way: why does the Italian public read foreign literature and
non-popular, instead of reading its own?…<span style="mso-spacerun: yes;">
</span>What is the meaning of the fact that the Italian people prefer to read
foreign writers?”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn16" name="_ftnref16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[16]</span></span></span></span></a></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>It
seems to be the crux of the situation, one where the intellectuals and the
people are radically separated.<span style="mso-spacerun: yes;"> </span>“After
the sixteenth century, in other words, the separation between the intellectuals
and the people, which underlies these notes and which has been of such
importance for modern Italian political and cultural history, becomes radical.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn17" name="_ftnref17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[17]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span>There seem to be two reasons for this
separation.<span style="mso-spacerun: yes;"> </span>The first is the legacy of
the Holy Roman Empire.<span style="mso-spacerun: yes;"> </span>Intellectuals
tied their interests to the cosmopolitan empire rather than the nation-people.<span style="mso-spacerun: yes;"> </span>The second is more implicit.<span style="mso-spacerun: yes;"> </span>The years of occupation by foreign powers
have enfolded Italy’s intellectuals within the projects of their nations.</span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>This separation is by in large
driven by contempt on the part of intellectuals towards the subaltern forces of
the nation.<span style="mso-spacerun: yes;"> </span>This can be seen in ‘the
anti-democratic attitude of Brescianist writers’, whose writing ‘is the form of
opposition to any national-popular movement and is determined by the
economic-corporate caste spirit, of medieval and feudal origin.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn18" name="_ftnref18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[18]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span>But it can also be seen in the writings of
Manzoni, who is genuinely interested in following Tolstoy’s lead in writing
literature of a national-popular nature.<span style="mso-spacerun: yes;">
</span>He is incapable of presenting subaltern characters with any sense of
inner life.<span style="mso-spacerun: yes;"> </span>Unlike Tolstoy, it is the
nobles who have a deep spiritual inner life, and give answers for the questions
posed within the book. </span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>The question of romanticism looms
over this discussion.<span style="mso-spacerun: yes;"> </span>It isn’t an idle
one for Gramsci.<span style="mso-spacerun: yes;"> </span>“In this sense,
romanticism precedes, accompanies, sanctions and develops that entire European
movement which took its name from the French Revolution.<span style="mso-spacerun: yes;"> </span>Romanticism is the literary aspect, the
aspect of feeling of this movement; it is more a question of feeling than of
literature, since the literary aspect was only a part of feeling which pervaded
all of life…<span style="mso-spacerun: yes;"> </span>And in this specific sense
romanticism has never existed in Italy.<span style="mso-spacerun: yes;">
</span>Its manifestations have been at best minimal, very sporadic and in any
case of a purely literary nature.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn19" name="_ftnref19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[19]</span></span></span></span></a></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"> </span></span></span></span>
</span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>This separation creates the
conditions in which Italian readers find their needs met through foreign
writers.<span style="mso-spacerun: yes;"> </span>“It means that they undergo the
moral and intellectual hegemony of foreign intellectuals, that they feel more
closely related to foreign intellectuals than to ‘domestic’ ones, that there is
no national intellectual and moral bloc, either hierarchical or, still less,
egalitarian.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn20" name="_ftnref20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[20]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span>In very different circumstances, and with
different effects, Chakrabarty touches upon the same phenomena,<span style="mso-spacerun: yes;"> </span>“Faced with the task of analyzing
developments or social practices in modern India, few if any Indian social
scientists or social scientists of India would argue seriously with, say, the
thirteenth century logician Gangesa or with the grammarian and linguistic
philosopher Bartrihari…<span style="mso-spacerun: yes;"> </span>Sad though it
is, one result of European colonial rule in South Asia is that the intellectual
traditions once unbroken and alive in Sanskrit or Persian or Arabic are now
only matters of historical research for most—perhaps all—modern social
scientists in the region.<span style="mso-spacerun: yes;"> </span>They treat
these traditions as truly dead, as history.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn21" name="_ftnref21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[21]</span></span></span></span></a></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>In terms of popular literature,
Gramsci’s analysis of the day seems to be accurate, fairly systematic, and
honest in presenting a lack within Italian society.<span style="mso-spacerun: yes;"> </span>But it seems that within a country with such
high levels of illiteracy, other forms of medium would perhaps be better at
capturing this national-popular sense.<span style="mso-spacerun: yes;">
</span>Gramsci refers to the national conscious as “operatic”, but never
discusses what that term entails.<span style="mso-spacerun: yes;"> </span>Also
Gramsci never gives due respect to the national popular form of opera, which he
recognizes as a popular form, but never explores the production of a national
popular that say, Verdi is involved in.<span style="mso-spacerun: yes;">
</span>These forms are recognized as being important, and Gramsci points out
that the ‘public’s choice in music includes “Verdi, Puccini, and Mascagni, who
naturally do not have counterparts in literature.”</span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Gramsci dismisses opera as a
national popular form in an interesting way.<span style="mso-spacerun: yes;">
</span>“’Verbal’ expression has a strictly national-popular-cultural character:
a poem by Goethe, in the original, can only be understood and fully relived by
a German (or by one who has ‘become German’).<span style="mso-spacerun: yes;">
</span>Dante can only be understood and relived by an educated Italian,
etc.<span style="mso-spacerun: yes;"> </span>But a statue by Michelangelo, a
piece of music by Verdi or a painting by Raphael can be understood almost
immediately by anyone in the world, even by the non-cosmopolitan, even if they
have not gone beyond the narrow circle of a province in their own country.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn22" name="_ftnref22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[22]</span></span></span></span></a></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"> </span></span></span></span>
</span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>One can quibble whether one needs
the ability to translate non-verbal forms of communication or not, but I think
that a more significant problem would be missed.<span style="mso-spacerun: yes;"> </span>Operas have words.<span style="mso-spacerun: yes;"> </span>As a matter of fact, most operas are
constructed with fairly simple language, and fairly simple plot lines.<span style="mso-spacerun: yes;"> </span>Verdi used this medium to express nationalist
themes around the Risorgimento, and these productions were extremely popular in
Italy. They may be explicitly referring to European themes as Gramsci remarks
in the later section on popular literature, but are easily decoded to describe
the situation in Italy.<span style="mso-spacerun: yes;"> </span>One wonders if
one could find other forms of connection with the national-popular in Italy if
one looked outside of the narrow confines of ‘popular literature’ (which was
apparently not particularly popular, nor very good literature).</span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Obviously, in a practical functional
sense, having a language that operates like ‘Esperanto’ is not going to lead to
a particularly functional nation.<span style="mso-spacerun: yes;"> </span>But
ultimately, in looking at the attempt to produce the national-popular one has
to make do with what one has, and literature clearly wasn’t the answer.</span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Although this question of the
national language is one that cannot be easily dismissed, Gramsci criticizes
Croce precisely on this point.<span style="mso-spacerun: yes;"> </span>His
solution would functionally disallow the participation of the subaltern forces
of the nation, purely by the inability to communicate within the discussions
that matter.<span style="mso-spacerun: yes;"> </span>Although Gramsci seems to
ignore other alternative ideological forums to focusing and uniting the
subaltern classes, his emphasis on functional literacy, or to write a “lively,
expressive and at the same time sober and measured prose”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn23" name="_ftnref23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[23]</span></span></span></span></a>
as Gramsci puts it, is not an unimportant goal, especially within the European
system.<span style="mso-spacerun: yes;"> </span>However in these cases, it may
have to wait until after the revolution is completed for it to be universally
implemented.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>One finds another strangely
contrarian thread within Gramsci’s writing.<span style="mso-spacerun: yes;">
</span>At the same time in which we are repeatedly introduced to the theme of
France as the nation par excellence, we find another thread emphasizing its
current bankruptcy.<span style="mso-spacerun: yes;"> </span>Jaures and Zola were
the last to speak for the people.<span style="mso-spacerun: yes;">
</span>Gramsci seems to sense the crisis that the popular front government is
about to head to.<span style="mso-spacerun: yes;"> </span>He clearly states that
the French form of the nation state has seen its time.<span style="mso-spacerun: yes;"> </span>Clearly this is meant to indicate the
collapse of the bourgeoisie and perhaps the rise of a new Rome of modernity,
Moscow.</span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>But there seems to be recognition of
possibilities within Italian society.<span style="mso-spacerun: yes;">
</span>Gramsci sees the drive for cosmopolitanism within the Italian people,
even when it manifests itself in clearly utopian (in the negative sense)
projects such as Esperanto.<span style="mso-spacerun: yes;"> </span>This drive
and desire can lead to a new form of cosmopolitanism, one that is truly
revolutionary.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>But it isn’t persistent return to a
stagist conceptualization of history that throws Gramsci’s ideas into a spiral.<span style="mso-spacerun: yes;"> </span>One can find sections within Gramsci where he
recognizes that history always resides in its particulars, but those
particulars must go through the nation-state form.<span style="mso-spacerun: yes;"> </span>But the particularities of Italian history,
like the particularities of Indian history can never live up to the
expectations of this particular historicism.</span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>It’s not surprising that those
engaged in postcolonial studies would take Gramsci on with such
enthusiasm.<span style="mso-spacerun: yes;"> </span>Perry Anderson is correct in
part by claiming Gramsci for ‘Western Marxism.”<span style="mso-spacerun: yes;">
</span>One can find elements (and important elements at that!) within his work,
particularly the ideas contained within “State and Civil Society.”<span style="mso-spacerun: yes;"> </span>But there is another side to Gramsci, a side
that is dealing with situations very similar to that of many postcolonial
nations.<span style="mso-spacerun: yes;"> </span>Admittedly, there are Marxist
works that deal with these issue on the colonial side of matters much more
explicitly from colonial powers, Gramsci’s work for the most part has an
expansive, open feeling that they lack.<span style="mso-spacerun: yes;">
</span>It is this side of Gramsci that becomes relevant to the postcolonial,
the one who can grasp the problems within much more direct and focused terms.</span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>The question of the colonies goes
back as far as Marx himself.<span style="mso-spacerun: yes;"> </span>What is
perhaps more significant is that Gramsci deals with the ramification of foreign
domination much more directly.<span style="mso-spacerun: yes;"> </span>Questions
that are for Marx and Lenin quite abstract, are for Gramsci the questions that
he must confront directly in day to day life in Italian life to accomplish
anything.<span style="mso-spacerun: yes;"> </span>They act as a painful sore,
one that is addressed with considerable emotional and intellectual intensity.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Europe, in Chakrabarty’s sense,
still reigns supreme within Gramsci’s work.<span style="mso-spacerun: yes;">
</span>The inadequacy that is apparent in the dwelling on France’s
national-popular formation represents that Europe.<span style="mso-spacerun: yes;"> </span>This doesn’t change appreciably if one reads
‘France’ and ‘Jacobin’ as code words for ‘Soviet Union’ and ‘Bolshevik Party’.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>However, in the clarity and
minuteness of Gramsci’s analysis, as well as the multiplicity of perspectives
that he brings in, alternatives exist.<span style="mso-spacerun: yes;">
</span>Gramsci is particularly unforgiving to any easy solution to the problem
of the unity of Italy, whether presented by his friends or enemies.<span style="mso-spacerun: yes;"> </span>It is this continual demand that keeps him
out of the ranks of those who would place the map of any other location onto Italy.</span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Clearly, Gramsci makes the most of
the tools available to him.<span style="mso-spacerun: yes;"> </span>It would be
useless to criticize him for the limitations that were not in his control.<span style="mso-spacerun: yes;"> </span>But if we look at the issue differently,
perhaps in a strange sense, by pushing historicism to its limits, we can see
beyond them to other possibilities of understanding history.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Nevertheless, there must be limit
put upon this.<span style="mso-spacerun: yes;"> </span>For as much value Gramsci
can have, there are limits as well.<span style="mso-spacerun: yes;"> </span>One
suspects that the following description of Italian life would have
significantly different coloring from Guha or Chakrabarty. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>“’The act for the act’s sake’,
struggle for the sake of struggle, etc., and especially mean, petty
individualism, which is anyway merely an arbitrary satisfying of passing whims,
etc.<span style="mso-spacerun: yes;"> </span>(In reality, the question is still
that of Italian “apoliticism”, which takes on these various picturesque and
bizarre forms.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn24" name="_ftnref24" style="mso-footnote-id: ftn24;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[24]</span></span></span></span></a></span></div>
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<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>It’s at moments such as this that
one wishes that another thinker would pick up and analyze these “bizarre”
behaviors.<span style="mso-spacerun: yes;"> </span>Gramsci feels comfortable to
dismiss them out of hand, and to a certain extent, Gramsci’s rebellion is
limited to a group of easily recognized behaviors, that are ‘cosmopolitan’ and
‘European’ in themselves.<span style="mso-spacerun: yes;"> </span>Ultimately,
they may provide interesting answers to political questions, even if they don’t
move directly to the revolution.<span style="mso-spacerun: yes;"> </span>This is
not the matter of dismissing Gramsci or polemicizing against him, rather it is
a matter of incorporating aspects of his ideas into a different problematic
that can better deal with the ambiguous postcolonial world that we live in.</span></div>
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span></span></span></a> Antonio
Gramsci, <i style="mso-bidi-font-style: normal;">Selections From the Prison
Notebooks</i>, ed. and trans. Quintin Hoare and Geoffrey Nowell Smith (New
York: International Publishers, 1971), 68.</div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span></span></span></a> Dipesh
Chakrabarty, <i style="mso-bidi-font-style: normal;">Provincializing Europe</i>
(Princeton: Princeton University Press, 2000), 32. </div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span></span></span></a> Gramsci,
<i style="mso-bidi-font-style: normal;">Selections From the Prison Notebooks</i>,
79.</div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[4]</span></span></span></span></a> Ibid.,
67-68.</div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[5]</span></span></span></span></a> Ibid.,
54.</div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[6]</span></span></span></span></a> Ibid.,
62.</div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[7]</span></span></span></span></a> Ibid.,
58.</div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[8]</span></span></span></span></a> Ibid.,
113.</div>
</div>
<div id="ftn9" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[9]</span></span></span></span></a> Ibid.,
90.</div>
</div>
<div id="ftn10" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[10]</span></span></span></span></a>
Gramsci, <i style="mso-bidi-font-style: normal;">Selections From the Prison
Notebooks</i>, 99.</div>
</div>
<div id="ftn11" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[11]</span></span></span></span></a> Ibid.,
99.</div>
</div>
<div id="ftn12" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[12]</span></span></span></span></a> Antonio
Gramsci, <i style="mso-bidi-font-style: normal;">Selections from Cultural
Writings</i>, ed. David Forgacs and Geoffrey Nowell-Smith, trans. William
Boelhower (Cambridge, Mass., Harvard University Press, 1985), 220.</div>
</div>
<div id="ftn13" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[13]</span></span></span></span></a>
Gramsci, <i style="mso-bidi-font-style: normal;">Selections from Cultural
Writings</i>, 200-201. </div>
</div>
<div id="ftn14" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[14]</span></span></span></span></a>
Gramsci, <i style="mso-bidi-font-style: normal;">Selections from the Prison
Notebooks</i>, 106.</div>
</div>
<div id="ftn15" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref15" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[15]</span></span></span></span></a>
Gramsci, <i style="mso-bidi-font-style: normal;">Selections from Cultural
Writings</i>, 216.</div>
</div>
<div id="ftn16" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref16" name="_ftn16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[16]</span></span></span></span></a>
Ibid.,209.</div>
</div>
<div id="ftn17" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref17" name="_ftn17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[17]</span></span></span></span></a> Ibid.,
216-217.</div>
</div>
<div id="ftn18" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref18" name="_ftn18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[18]</span></span></span></span></a>
Gramsci, <i style="mso-bidi-font-style: normal;">Selections from Cultural
Writings</i>, .</div>
</div>
<div id="ftn19" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref19" name="_ftn19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[19]</span></span></span></span></a> Ibid.,
205.</div>
</div>
<div id="ftn20" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref20" name="_ftn20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[20]</span></span></span></span></a> Ibid.,
209.</div>
<div class="MsoFootnoteText">
<br /></div>
</div>
<div id="ftn21" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref21" name="_ftn21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[21]</span></span></span></span></a>
Chakrabarty, <i style="mso-bidi-font-style: normal;">Provincializing Europe</i>,
5-6.</div>
</div>
<div id="ftn22" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref22" name="_ftn22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[22]</span></span></span></span></a>
Gramsci, <i style="mso-bidi-font-style: normal;">Selections from Cultural
Writings</i>, 122.</div>
</div>
<div id="ftn23" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref23" name="_ftn23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[23]</span></span></span></span></a> Ibid.,
204</div>
</div>
<div id="ftn24" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref24" name="_ftn24" style="mso-footnote-id: ftn24;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[24]</span></span></span></span></a>
Gramsci, Selections from the Prison Notebooks, 147.</div>
</div>
</div>
robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-46423772096364468512018-01-03T14:30:00.001-08:002018-01-03T18:42:57.968-08:00Return to Regular Blogging After inadvertently taking off the month of January, I plan on getting back to regular blogging this year. For better or worse, its one of my new year's resolutions, a series of commitments I've had distinctively mixed results in following up on. It's also a good way to keep in the habit of writing, which is really needed now that I'm out of school and mostly stuck in the adjunct track. I've been fortunate enough to get regular work at Irvine Valley College, but its not work that encourages writing, and I need to get back into the practice of putting material down. I've been thinking about putting together a short entry on Charles Dickens' <i>Hard Times,</i> and perhaps at some point I will finally live up to my promise to put some material on Stephen King. I plan on writing a lot more shorter pieces and perhaps putting some material together about the Hugo readings, a process I had planned to follow through on last year, but bailed out on due to employment stress. I'm hoping to finally get back involved in some sort of activist project, which generally provides material to write about as well. I don't see the basic format of the blog changing, though. I'm probably going to still focus on politics, literature, and culture from a radical standpoint.<br />
<br />
Despite bailing on blogging during the final month of the year, it was still a pretty good year for my writing. I managed to get two essays published in academic journals, an essay on Judith Merril, "Estranged Domesticity: Science Fiction and the Domestic Melodrama", is now in <i>The Journal of American Culture, </i>Volume 40, Number 4, December 2017, and an essay on China Mieville,“Extravagant Secular Swarming”: Space and Subjectivity in China Mieville’s <i>Perdido Street Station</i>, was published earlier in the year and is available through <i>Critique: Studies in Contemporary Culture, </i>Volume 59, Issue 1, 2018. (It was published online sometime in August.) It took me a long time to get the essays accepted and that probably wouldn't have happened if it wasn't for the work of Eyan Amiran, Jo Isaacson (who also helped me with my first online publication), and Victoria Lamont. I can't say how much I appreciate their help. In addition, I managed to put out more blog postings than 2013, the last full year that I had published the blog. My hope is that I will have even more postings this year now that I've finally gotten back on the right track after a couple rough years after graduate school. Incidentally, here are the rest of my new year's resolutions, which I'm putting up more for myself than any potential reader interest.<br />
<br />
1. Submit three drafts for publication. (One of those drafts should involve new research)<br />
<div class="MsoListParagraphCxSpFirst" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
2. Read Capital Vol. 1-3<br />
3. Return to blogging<br />
4. Improve teaching<br />
5. Apply for non-composition positions<br />
6. More exercise<br />
7. Take care of hip<br />
8. Try to go to at least one more conference other than the ACA<br />
9. Keep in touch with people with more regularity<br />
10. Finish 100 books<br />
11. More networking<br />
12. Replace computer<br />
13 Return to activism<br />
14 Less irritability and yelling at machines</div>
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Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
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<![endif]-->robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-9726258377289486142017-11-30T18:37:00.000-08:002017-11-30T18:37:01.504-08:00A short talk on Darko Suvin<!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">I was contributed to a panel on the relevancy of the work of Darko Suvin in the present moment at the recent Utopian Studies conference. My paper, like the other papers, is primarily a defense of Suvin's work, albeit with some qualifications. I'm sympathetic with critics such as China Mieville when they decry Suvin's reductive reading of fantastic literature, but I don't think that this is the most interesting or most important aspect of Suvin's work. Moreover, they substantially misread Suvin's theoretical framework, notably his understanding of the term, 'science.' Some of this comes out of the fact that much of Suvin's writings have been out of print for a number of years and have only recently been republished. In any case, the panel's very real interest in Suvin was not shared by conference attendees, and the panel outnumbered the audience for the presentation. It was unfortunate because I thought all the presentations and the discussion afterwards was quite interesting. In any case, to get this preliminary investigation slightly more attention, I thought I would post it here. (Apparently, Suvin will or has heard a recording of the talk and I genuinely hope that he liked the talk. I can't think of a thinker within Science Fiction Studies that has a greater influence on my work.)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">The
critique of China Mieville represents a dominant interpretation of the work of
Darko Suvin at the current moment.<span style="mso-spacerun: yes;">
</span>Mieville focuses on Suvin’s distinction between the ‘cognitive
estrangement’ of science fiction and the reactionary mystification of fantasy.<span style="mso-spacerun: yes;"> </span>He argues that Suvin’s distinction and
hierarchy constitutes a sort of neo-Fabian technocratic reasoning and mystifies
the construction of both genres.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-bidi-font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";"> Mieville engages with the limitations of the theoretical
framework as developed by Suvin and Carl Freedman, showing how the “cognitive
effect” emphasized by both authors is a product of a kind of rhetorical
maneuver, a trick on the part of the author to get the reader to accept the
cognitive effect of the work in question. Mieville notes that this largely
operates as a consensual game, but that the logic implicit in the work of Suvin
and Freedman evades the way that the modes of scientific cognition that both
celebrate are formed out of and are embedded in the logic and violence of
capitalist accumulation.<span style="mso-spacerun: yes;"> </span>He rejects the
‘epistemological firewall’ implicit in the concept of cognition and argues that
science fiction and fantasy should be seen as slightly different modes of
estrangement, both deeply embedded in the ideological matrix of capitalist accumulation.
</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Mieville is correct to point out the limitation
in the construction of this binary, but his critique also rigidifies Suvin’s framework
into a kind of technoscientific fetishism.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">These
interpretations draw on an understanding of science that Suvin himself rejects
in his essay, “Cognition and Estrangement,” which embraces a concept of science
that falls under the larger rubric of the German Wissenschaft, which focuses on
any form of organized knowledge, rather than simply the natural sciences. Suvin’s
refusal of this technoscientific interpretation of the science and cognition is
only intensified when we turn to his essay, “Utopian” and “Scientific”: Two
Attributes for Socialism from Engels.” That essay frames his critique of Engels
opposition of the terms scientific and utopian in a critical examination of the
history of the category of science, framing Engel’s use within the shifting
meaning of the term.<span style="mso-spacerun: yes;"> </span>The article
explores the rich tensions within Engel’s essay, and by no mean entirely
rejects the work entirely, but refuses Engels’s effort to use the epistemology
of the natural sciences of his time as a ‘model for Marxist or socialist
historiosophy.’ Suvin argues that all forms of scientific social practice are
embedded in the social relations of their time, making the same critiques of
capitalist technoscience that Mieville would later include in his critique of
Suvin. The science of historical materialism therefore could not take these
social practices as a model. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Instead,
Suvin rereads Marx to reframe Marx’s engagement with the term science in a way
that rejects the science/utopia opposition, instead seeing it as a critical
engagement with the utopian tradition.<span style="mso-spacerun: yes;">
</span>At the same time, he rejects the formulation of science as the positive
science of the natural sciences.<span style="mso-spacerun: yes;"> </span>Suvin
notes, “Science is here, obviously, thought of by Marx neither as an official
social institution nor as an absolute epistemological mode, but as a usable and
misusable ensemble of cognition—which is, as in Kant, a pioneering
prefiguration I was postulating earlier.” (that is a combination of clearly and
firmly demonstrated knowledge that is based on real historico-economic processes
as opposed to the more conventionally embraced system building part of the
formulation) Revolutionary science is a potentiality that operates in
opposition to the dominant structures of our society and as such cannot simply
model itself on those structures. “Cognition” becomes not only an exploration
of technoscience, but the network of social relations of the capitalist world
system, their gaps, lacunae, and contradictions, and the potential
transformations within those transformations. Suvin’s position found in this
article is remarkably consistent throughout his work.<span style="mso-spacerun: yes;"> </span>It can be found in his later writings and it
is already found in his critiques of the liberal utopianism of the work of
Jules Verne.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Instead
of framing his discussion of cognitive estrangement within the confines of
either positive science or the narrower technoscientific regime that
increasingly stands in for the word science within the present moment, Suvin’s
concept of the cognition in cognitive estrangement operates within the register
of history.<span style="mso-spacerun: yes;"> </span>This engagement with history
is made most apparent with his development of the concept of the novum,
starting in his essay “SF and the Novum”, which notes, “The new is always a
historical category since it is always determined by historical forces which
both bring it about in social practice (including art) and make for new
semantic meanings that crystallize the novum in human consciousness” (Suvin
80).<span style="mso-spacerun: yes;"> </span>The novum operates in a double
historical register, both marking out the historical moment that the literary
technique operates in historically, and as a marker of the possibility of other
worlds that operate in that moment of time.<span style="mso-spacerun: yes;">
</span>Within this context, the repeated framework of “post-Cartesian and
post-Baconian scientific method” (Suvin 65) becomes another historical framing,
intertwining the generic structures of utopian and later science fiction with
the rise of the structures of capitalist accumulation, albeit as a marker of alterity.<span style="mso-spacerun: yes;"> </span>The novum constantly points to the radical
possibilities for other world to exist, worlds that are immanent to the
everchanging regime of capitalist accumulation, but are exogenous to it.<span style="mso-spacerun: yes;"> </span>This radical dimension of Suvin’s formulation
is then stated by critic Tom Moylan.<span style="mso-spacerun: yes;"> </span>“Thus,
Suvin’s novum is neither the reified “novelty” produced by capitalism nor the
vanguard privileged by orthodox Marxism.<span style="mso-spacerun: yes;">
</span>Instead, it is the dialectical force that mediates the material,
historical possibilities and the subjective awareness and action engaged with
those possibilities.” (Moylan 49)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Cognition
then cannot be linked to the formations of capitalist technoscience that his
critics want to insist upon.<span style="mso-spacerun: yes;"> </span>It is not a
practice dependent on technoscientific accuracy, but dependent on the rejection
of the text’s present as inevitable.<span style="mso-spacerun: yes;"> </span>But
as I noted before, the firewall between the genres and the emphasis on openings
or practices of freedom have their own problems.<span style="mso-spacerun: yes;"> </span>I want to potentially register a pair of
limitations to this eminently useful framework, both touching on Suvin’s phobic
reading of the fantastic.<span style="mso-spacerun: yes;"> </span>The first
deals with the cognitive limits contained in the fantastic.<span style="mso-spacerun: yes;"> </span>Whatever you think of the history of
fantastic and gothic literature, it produces a rich symptomology of the limit
points of capitalist instrumental reason, the hauntings that point to a logic
that is immanent yet exogenous to that logic, even if it can’t comprehend this
outside.<span style="mso-spacerun: yes;"> </span>More recent fantastic work,
whether in the form of China Mieville, Victor Lavalle, or even the more
conventional work of Tad Williams has begun to draw on that symptomology in a
far more conscious manner, creating a new kind of potentially cognitive
fantasy.<span style="mso-spacerun: yes;"> </span>The second is a more abstract,
which is the rejection of a negativity of limitations, which simultaneously
rejects the negativity that is central to creating new forms, whether on the
theoretical level, or the level of political or aesthetic practice, even if one
does not have a solution to the dilemma.<span style="mso-spacerun: yes;">
</span>Within this context, it must be recognized that one may have a cognitive
orientation both towards the fantastic and towards blockages and limitations,
even when they take the form of aporia. This “cognition” within the “cognitive
estrangement” of Suvin’s concept may not be limited to science fiction as Suvin
would like it to, but it may still represent the radical critical potential of
the genre, a marker of the process of cognitive mapping in literature.<span style="mso-spacerun: yes;"> </span>I’m interested in exploring this other
potential “cognitive estrangement”, not as an act of conservation, but as a new
mode of criticism that draws from the strengths of Suvin’s work, rather than
its weaknesses.</span></div>
robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-24619883960674135932017-10-21T12:42:00.000-07:002017-10-21T12:42:03.882-07:00The Discovery of Daily Life There is a project that has been on the back of mind for the past decade or so, something that I've never really put on paper or even really seriously discussed in any situation. It's a point that influences my dissertation, a study of feminist
science fiction over the last century, but it's hardly a central point
to that study. That is the discovery of daily life as a site of political struggle and as a site of academic study. It's a journey that draws together a wide swath of often quite disparate academic disciplines and political movements, ranging from cultural studies, John Burger's studies on paintings, the study of history from below, to a network of dissident small groups such as the Forrest-Johnson tendency, Socialisme ou Barbarie, and the workerist networks in Italy that arose in the post war period. At the same time, feminist networks transformed the formerly ostensibly private space of the household into a space of political inquiry, both through political intervention and the construction of an academic discipline. It's a process that both culminates and dies with the brief rise of cultural studies as a celebrated interdisciplinary process in the 1980's and 1990's. With a multiplicity of theoretical lens and objects of study, these disparate groups began to see the rich complexity of daily life as a something to study, and perhaps more significantly, as a terrain of struggles that define the process of both reproducing dominant social structures, both in the form of institutions and disciplinary practices, as well as challenging those institutional and disciplinary practices.<br />
<br />
While there are precedents to this examination, often taken up by governmental agencies to understand social strife in the 19th century or by radical activists to create that strife, the study of daily life really takes life after the second world war. The first major academic study is taken up by Henri Lefebvre in 1947 with his first volume of the <i>The Critique of Daily Life</i>, which was to be continued with two other volumes published in 1961 and 1981 respectively. Only a decade later, literary critic Richard Hoggart published <i>The Uses of Literacy</i> and in collaboration with Raymond Williams and others launches the cultural studies project in the UK. Interwoven with that narrative is the rise of the study of the history of resistances and domination in the workplace taken up by EP Thompson and other, which inadvertently launches a study of the history from below, which takes on a myriad of forms such as the practices of the Subaltern Studies collective in the 1970's. At the same time, the Forrest-Johnson tendency is involved in the creation of a series of political pamphlets discussing the revolutionary possibilities of working class organizing in the United States. <br />
<br />
A similar analysis is taken up by militants in France in the form of Socialisme ou Barbarie and by Italian militants connected to Mario Tronti under the framework of 'workerism.' These militants were interested in the questions that were taken up by all the other thinkers within this framework. How had the radical transformations that occurred after the second world war transformed the working class and what possibilities for radical transformation still existed? This work challenged a consensus that assumed that Keynsian economic interventions had stabilized capitalist accumulation and created what might be called a capitalism with a human face. Their studies found that such resistance and self-organization still existed but that the forms of militancy took on very different forms than they previously had taken and in the views of these groups called for very different kinds of organization to fulfill their potential. In that sense, despite their very real antagonisms, feminist thought and practice is very similar to these intellectual formations, seeing the household as a space of domination and resistance in which a very new political project could be launched. (This topic deserves far more attention than is given here, and is by no means a unified project itself.)<br />
<br />
These collectivities are intertwined with the stalled world revolution of 1968, but are only a part of the story, and in many ways, a less significant part of the story than the long history of decolonization that might be argued to be the central narrative of the 20th century. But there's something really interesting in that story, which follows the creation of the great economic boom of the second half of the 20th century, a boom that does not only benefit the bourgeoisie but creates a level of comfort, albeit unevenly, for working class groups that had never been seen before. In doing so, it transformed formerly oppositional institutions into part of the hegemony of the new system, but that process didn't lead to the labor peace that was expected. Instead, following the lead of the rest of the world, we see new forms of militancy and new forms of life. In this sense, following the framework of Michel Foucault, the newly minted disciplinary structures of capitalist accumulation that, for lack of a better word, colonized daily life, created new modes of resistance that couldn't easily map onto the formerly dominant forms of resistance. Those who wanted to contribute to those practices then had to take up that study of daily life, to discover that world and to intervene in it.robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-8326522726919259942017-10-13T16:46:00.001-07:002017-10-13T16:46:59.435-07:00A Short Comment on the Language of Fandom I've found myself reading quite a bit of fan discussion during
the recent conflict over the Hugo awards. The pages of File 770 have
become my lunch time reading for the past few months. That process of
reading has really reminding me of the very subcultural behaviors of the
group, particularly around the construction of language. It struck me
that a dictionary of fandom might be a very interesting literary and
sociological project. Not surprisingly, there are a number of efforts
already in existence on the <a href="http://stilyagi.org/content/fanspeak-dictionary">internet</a>,
and I suspect probably quite a few in book or magazine form as well.
Most of these efforts cover both the types of short hand developed in
fan circles, such as the now fairly ubiquitous fanfic and slash, as well
as specifically fannish language such as ghu and fugghead.
Additionally, such publications will often give definitions for the
often obscure acronyms such as SMOF (Secret Master of Fandom).<br />
<br />
Clearly, this is relevant and interesting work if you want to develop
an understanding of the fractured and conflictual subgenre, but, for me,
it misses out on another dimension of language that you find in fannish
conversations, which is not found in specific words or terms, but in
conventional turns of phrase. One clear example that I have found over
these last months is the phrase, "It bounced off of me." The phrase is
designed to accomplish a couple things. 1. It indicates that the
commenter didn't particularly like the book or film. and 2. It makes
that dislike a matter of personal preference, one that indicates more
about the particular tastes of the reader, rather than the quality of
the book or film. At an immediate level, the phrase is an indication of
the commitment to pluralism and relativism within fandom. It insists
that one's personal taste is not universal, and that a book may have
qualities that are simply not appreciated because of the limitations of
the reader or viewer. This set of particular commitments is often
expressed sentiments, such as "We are all fandom" and the Vulcan phrase,
"infinite diversity in infinite combinations."<br />
<br />
I
don't want to dismiss that commitment, but it is a commitment that is
often undermined by the frequently explosively agonistic nature of
fandom. After all, we are talking about an archipelago of people who
enjoy argument and frequently get into explosive conflicts that lead to
the splitting of organizations, and to long standing enmities. Fandom
is certainly pluralistic, but that pluralism is fraught with rivalries,
rants, insults, arguments, and lengthy diatribes that define the lay of
the land. Rather than being a recent phenomenon, we can find these
fights at the origins of the formal existence of fandom, and in the
Amateur Press Association, which is probably the closest antecedent to
that formation. In this sense, we see a second pole to the structure
of pluralism so celebrated by fandom, one that is already implicit the
word 'fan' itself, which simply shortens the term 'fanatic'. While on
the surface, this may seem like the unpleasant underbelly of fandom,
it's important remember that the forms of intolerance found within this
pole often challenge deeply disturbing aspects of the subculture, such
as the forms of racism and sexism found in the genre. Tolerance, after
all, often becomes a form of complacency within the context of an unjust
system.<br />
<br />
It also adds a second and unspoken
dimension to the statement, "It bounced off of me." Within the context
of a subcultural group that so often descends into futile and bombastic
argument, the phrase becomes a way of avoiding such conflict. That is
to say, the pluralism and relativism of fandom becomes a way of both
regulating and temporarily avoiding the stasis that lays at the heart of
its formation. In a curious sense, fandom is defined by stasis,
precisely because so little as at stake. It is, after all, not a form
of citizenship, an ethical system, or anything other than groups of
people who share nothing in common but to enjoy a literary form, an act
of enjoyment that millions engage in without any need for a subculture
or even a community to do so. Perhaps, within that context, we can give
a third definition to the term, and see it as a form of deferment. "I
bounced off of it" becomes a way of say, "We're not going to agree on
this one, but rather than getting into a heated discussion, let's wait
and see if there is something to discuss that we will both find
amenable." The statement then becomes a sort of rhetorical border, a
way of marking what is open for discussion, and what is not, as well.
In a curious manner, the process then mirrors the production of genre
that is its reason for existence. robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-30347951949192185462017-09-12T17:39:00.000-07:002017-09-12T17:39:20.308-07:00Mises, Bourgeois Thought, and FascismI've been getting into quite a few debates with libertarians over the past few weeks about a number of topics. I'm not interested in repeating those debates, which largely haven't been that interesting. However, those debates have caused me to come across a small passage from Ludwig von Mises in the 1927 preface of his book, <i>Liberalism</i>, that has been at the center of a small polemical debate about the thinker. Critics have used this material to present Mises as a supporter or even sympathiser with the fascist cause, while the Mises Institute has provided a broader context for the quote to show that the material is more critical than supportive of the regime. In this sense, the institute gives a broader context for the quote than the opponents and is probably more accurate, but I want to use this material for a different purpose than that of those involved in this debate. Rather than looking at von Mises as an idiosyncratic thinker who is either guilty or innocent of fascist sympathy, I want to look at the thinker as somewhat representative of the bourgeois response to the crisis of the times and the ambiguous role that fascism was seen as a solution to that crisis.<br />
<br />
To do that, we should first look at the passage itself. Rather than drawing from the initial passage that is drawn on by Michael Lind to critique Mises, <a href="https://mises.org/blog/mises-fascism-again">I'll look at the longer passage that is provided by Jeffery A. Tucker of the Mises Institute to show that the original quote is taken out of context.</a> Here's the material.<br />
<br />
"Here we go again. Today, statist-nationalist Michael Lind writing in <a href="http://www.salon.com/news/politics/war_room/2011/08/30/lind_libertariansim" target="_blank">Salon </a>seizes on one passage from Mises’s book <a href="http://mises.org/store/Liberalism-P280.aspx">Liberalism </a>to argue that Mises was a crypto-authoritarian (which is a heck of an accusation for Lind, of all people, to make; Lind wrote an<a href="http://books.google.com/books?id=znDscu7MVcEC&printsec=frontcover&dq=Michael+Lind&hl=en&ei=8u9cToXTA4jV0QHRn_mBCQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false" target="_blank"> entire book </a>that seeks to revive nationalism as a political ideology – even regretting that fascism discredited nationalism).<br />
The passage from Mises as selectively quoted:<br />
<blockquote>
It
cannot be denied that Fascism and similar movements aimed at the
establishment of dictatorships are full of the best intentions and that
their intervention has for the moment saved European civilization. The
merit that Fascism has thereby won for itself will live on eternally in
history.</blockquote>
And that’s where Lind ends it, failing to add Mises’s actual conclusion:<br />
<blockquote>
But
though its policy has brought salvation for the moment, it is not of
the kind which could promise continued success. Fascism was an emergency
makeshift. To view it as something more would be a fatal error."</blockquote>
I want to start out by noting that Tucker is absolutely correct to note that the small part of the passage that Lind excludes changes the meaning of the passage. Rather than acting as a full-throated endorsement of fascism, an impression that is created by the first section of the passage, we see a far more reserved position being taken. Fascism has accomplished something, and has acted in the defense of something called 'European civilization.' But Mises endorsement of the action is a provisional one. It was an understandable response within a particular state of emergency, but that response was a 'makeshift' one, and any attempt to transform its practices into a long-term solution would be a 'fatal error.' Tucker goes on to make two other defenses of the statement, noting that the statement was made early in the existence of the phenomenon and that other mainstream institutions made similar defenses of fascism, often without the caution expressed by Mises. I don't think the first claim really holds up well. Fascism had existed for a number of years by the time of the publication. The party was formed in 1919 and had taken power in 1922. Moreover, its full dictatorial takeover of the state had already taken place. Most of the negative qualities of the movement had already taken place by the time of the publication.<br />
<br />
But Tucker's second position is largely true. Mises was far from the only person to make this kind of statement, and many defenses showed less caution than Mises. The passage that Tucker extracts from the <i>New York Times Magazine</i> certainly shows this hastiness if presented in full context. Fascism was viewed sympathetically by wide swathes of elite opinion and many of those thinkers were less cautions than Mises. Certainly, libertarians and conservatives have engaged in the same misrepresentation that we see with Lind. Conservatives have, for instance, removed references to the criticisms that the <i>New York Times</i> made about the otherwise positive review of <i>Mein Kampf</i>. But, they still have pointed out a trend that can't be ignored even if it needs to be somewhat corrected. However, that common thread points to a common concern that remains unaddressed in the work of Tucker. We might perhaps get a glimpse of it if we return to the primary concern expressed by the <i>New York Times</i>. As note previously, the paper found Hitler's anti-semitism appalling, but saw in the figure something that outweighed that feature, his anti-communism. Hitler may be a goon, but he was an opponent of the specter of communism, the threat of workers rising up and reorganizing society to benefit themselves, rather than the few. (Just a small note, I specifically invoke the specter of communism because I don't think that this accurately describes the Soviet Union. It would be too large a task to spell out why within the confines of this paper, though.) <br />
<br />
When we think about the context around the comments of Mises, we see a similar situation. Italy just after the first World War saw a sharp uptake in worker's militancy, taking the form of strikes and factory take overs. Workers not only demanded more wages and benefits, but were openly challenging the structures of private property and the bourgeois government itself, through the formation of workers' councils that were put in place to control production and potentially more. Benito Mussolini's Fascist Party first entered the political arena by organizing paramilitary squads that we designed to crush this uprising. The party was in the pay of the employers to accomplish this, and was able to build off of those early successes and take over the state three years later in a staged march on Rome. (At this point, the party was still very small, and had no chance of military victory. The party was given this victory by the king.) When we think about this context, the statement made by Mises becomes more easily understood. The threat to 'European civilization' is precisely this democratic effort to reorganize the society for the benefit of the many. The institutions of private property were threatened by the democratic nature of the society and needed to be temporarily suspended to re-institute those relations, but permanent dictatorship was also a threat. <a href="http://crookedtimber.org/2013/06/25/nietzsche-hayek-and-the-austrians-a-reply-to-my-critics/">We can see an analogy to the later sympathy that fellow traveler Friedrich von Hayek showed for the dictatorship of Augusto Pinochet; temporary dictatorship could be a check on the democracy that both distrusted in the name of private property, but it was a dangerous proposition.</a><br />
<br />
However, rather than seeing this phenomenon as one limited to the world of capitalist libertarianism, I want to hold onto the point that Tucker pointed out, albeit for radically different purposes. The broad spectrum saw the fascist response as a potential safety valve to the crises in their own societies posed by the broad masses that looked (erroneously) to the Soviet Union, the radical possibilities embedded in the Spanish Republic, and perhaps most significantly to their own radical capacities in order to challenge the embattled structures of capitalist accumulation that were created by and defended by that dominant grouping. Within this context, we might turn to turn to the words of the Spanish anarchist, Buenaventura Durruti to understand this phenomenon. "No government fights fascism to destroy it. When the bourgeoisie sees that power is slipping out of its hands, it brings up fascism to hold onto their privileges."<br />
<br />
(One last note, I don't think we should ignore the equally racist implications in the phrase, 'European civilization, and while that racist thread falls outside the present discussion, it cannot be ignored in a larger discussion of the phenomenon.)<br />
<br />
(You can also find an analysis of the quote from Corey Robin <a href="http://coreyrobin.com/2012/07/09/but-wait-theres-more-hayek-von-pinochet-part-2/">here</a> that provides a larger section of the quotation that makes the anti-communism of the passage even clearer.)<br />
<div style="left: -99999px; position: absolute;">
No government fights
fascism to destroy it. When the bourgeoisie sees that power is slipping
out of its hands, it brings up fascism to hold onto their privileges.<br /> Read more at: https://www.brainyquote.com/quotes/quotes/b/buenaventu325901.html</div>
<div style="left: -99999px; position: absolute;">
No government fights
fascism to destroy it. When the bourgeoisie sees that power is slipping
out of its hands, it brings up fascism to hold onto their privileges.<br /> Read more at: https://www.brainyquote.com/quotes/quotes/b/buenaventu325901.html</div>
<div style="left: -99999px; position: absolute;">
No government fights
fascism to destroy it. When the bourgeoisie sees that power is slipping
out of its hands, it brings up fascism to hold onto their privileges.<br /> Read more at: https://www.brainyquote.com/quotes/quotes/b/buenaventu325901.html</div>
<div style="left: -99999px; position: absolute;">
No government fights
fascism to destroy it. When the bourgeoisie sees that power is slipping
out of its hands, it brings up fascism to hold onto their privileges.<br /> Read more at: https://www.brainyquote.com/quotes/quotes/b/buenaventu325901.html</div>
robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-62324732340913011572017-09-08T13:35:00.001-07:002017-09-08T13:35:17.679-07:00Looking from the sidelines: my shifting views on anti-fascist organizingIt might make sense to open this conversation by looking at the remarks of a number of protesters who attempted to use civil disobedience tactics to oppose fascism and white supremacy during the recent events in Charlottesville. The first night of the fascist incursion into the city occurred on the campus of the University of Virginia in the form of a torchlight march. In opposition to that march, a small group of clergy and others decided to protest the fascists and the Confederate memorials that they were attempting to defend. The small group was very quickly surrounded by the fascists, and only the group of anti-fascists were willing to intervene to defend the group from the fascists. The police, who they were looking to be arrested by, simply looked on. The group found themselves in the position where they were defended by a group of activists that have a very different perspective on tactics and strategy. <br />
<br />
The responses on the part of the group in a variety of formats are instructive. Most noted that the experience of facing the fascist mob was remarkably different than their what they previously experienced at demonstrations. They also noted that the training they went through did not prepare them for this situation. Most acknowledged the debt they owed to the group of anti-fascist activists. It's a remarkable set of documents as a whole. Some of these individuals had been involved in thousands of protests and some had only been involved in a few, but there is a consistent thread through the responses, an acknowledgement that the set of assumptions that they came in with did not correspond with the situation. The tactics that they set out to use, which I want to add are part of a time honored and powerful tradition within activism in the country and around the globe, did not make sense here. The group did something that we so often avoid; they acknowledged that they did not understand the conditions that they were entering into and that the tactics they used were not adequate to the situation because of that. <br />
<br />
It's an intellectual honesty that we admire and all too often eschew in our own practices. However, for the purpose of this essay, I want to emphasize this quality of not knowing as one common among us who have not had significant experience confronting fascist groups.<br />
<br />
My own experience began in that ignorance. I entered into the world of politics through the punk scene in the Twin Cities in the early 1990's. What I didn't know at the time is that a significant change had occurred in that scene before I entered it. In the late 1980's a group of skinheads calling themselves the Baldies had come together to drive out the white supremacists from the Twin Cities punk subculture. By the time I had entered the scene, this group, now reformed as the Anti-Racist Action network had driven the active white supremacist elements out of the scene and into the underground. This meant that I could enjoy going to shows without having to worry about the kind of violence that Nazis have brought to the punk subculture, and I could enjoy participating in that community without the worry that so many have had to take on. It's something that I took for granted at the time, but it's something that I'm profoundly grateful looking back at the situation.<br />
<br />
My involvement with the punk scene gradually receded as I got involved in the Emma Center and other activist spaces, which led to me having different priorities. As that shift occurred, I became aware of the Anti-Racist Action network. I was initially made aware of the network when a professor passed on some information about an ARA activist who was being charged with assault because of a confrontation with a Nazi skinhead, and I gradually became aware about community debates about the situation. I eventually attended an ARA meeting with a friend, which translated into my initial aversion towards the group. At that meeting, a young man showed up to the meeting looking for support from the network. He had returned to his old neighborhood, looking to catch up with some friends, and found himself being recruited by the head of the National Socialist Movement, Jeff Schoep. In response, he had panicked and hit Schoep on the head and stole his car, along with all the literature in that car. The group understandably immediately set out to support the individual, who had responded to a dangerous situation as best he could.<br />
<br />
But I had no understanding of the danger the individual was in that situation, and the reasons for his response, and I was appalled. Rather than trying to understand why the individual or the network responded in the way they did, I dismissed them and looked to other places to be involved in activism. I reasoned at the time that one should be opposed to such individuals but that the actions of the individual and the network were unacceptable in the face of free speech activity. I didn't understand that fascist organizing almost always involved violence as a means and an ends in that organizing and that allowing such activities to occur creates the conditions for those groups to take over those spaces. To put another way, fascist organizing isn't simply a matter of unpleasant speech acts but the active creation of violent and authoritarian social spaces. Perhaps, more significantly, I had no conception of the threat posed to the young man who was being recruited and the legitimacy of his fear and vulnerability in the face of this recruitment. The only reason I don't look back at this situation without much embarrassment is that I at least had the good sense to shut my yap and listen, rather than intervene.<br />
<br />
From there, I got more and more involved in the activist projects of the Twin Cities. My involvement in the Progressive Student Organization led to my participation in the anti-sanctions campaign and the broader network of radical activists in the Twin Cities. The conflicts that eventually tore apart the PSO brought me in contact with the anarchist sections of that movement, which gradually drew me into the anti-globalization movement that was effectively brought to the attention of the world by the anti-WTO protests in Seattle. I didn't participate in that protest, but I was at later protests in Washington D.C. and Quebec City, along with a series of confrontational protests in the Twin Cities, from the Mayday protests to the ill-advise ISAAG protests. Those experiences drastically changed my world view and what kinds of activities should and could occur during protest. I went from viewing Black Bloc tactics as being ill advised and unpleasant to being involved in a number of Black Bloc formations, and embraced the increasingly confrontational ethos of the times. Perhaps more significantly, I experienced confrontation in a variety of ways that were only previously abstractions.<br />
<br />
These experiences led to a small group of us deciding to organize a small militant response to the upcoming KKK rally that occurred shortly after the initial boom in anti-globalization protest. We managed to both organize a concert in opposition to the fascists and contributed a core of protesters to a small group that confronted the small group of Klan supporters within the larger opposition to the group. At the ground level, both our activities and the larger structures of the protest were deeply problematic in ways that I can't touch on within the aegis of this essay, but the experience itself was significant. One of the things you learn in the process of engaging in these conflicts is that the process is a lot messier than at least I initially expected. Most of it was a lot of yelling, but there were some kicks and shoves as well. Outsiders want conflict to be neat and easy, but never is. Conflicts with fascists are going to messy, and if you snap the picture at the right time, the detached image can tell a damning and misleading story. Just as significantly, we were far from the most militant group in the protest. We went as far as to kick a fascist in the butt as he crossed the police line, but a sizable group of the counter-protesters who didn't typically attend rallies greeted the Klan supporters with rocks and fists. The intensity of the response got to the point where anti-Klan organizers stepped in to protect the children of the supporters, although not the supporters themselves.<br />
<br />
My experiences within that situation were fragmentary and short lived in contrast to many of the experiences of other, more serious anti-fascist protesters and I don't think they translate into any kind of expertise. Instead, my main understanding of these situations comes from the conversations I wound up having with committed anti-fascist activists, when I eventually joined the Anti-Racist Action in 2001 or 2002. The reasons I got involved in the network aren't terribly relevant to the discussion, but I got involved in the Minneapolis group for reasons that had more to do with my trust and affection for the members of the group and its commitment to a feminist politics than it had to do with anti-fascism. At the same time, my involvement put me in touch with a whole range of activists that had been involved in the fight for a lot longer, and I did something that I should have done earlier, I listened and asked questions. I heard a lot about the messy conflicts that occur within these situations, why people got involved, and the self-critical analysis of such activists. Perhaps, most significantly, I remember talking to a group of anti-fascist activists in a small city in what I think was Indiana. They talked about their vulnerability in the face of a town in which fascists were allowed to run free. They couldn't go to shows or go to a bar to get a drink without the very real threat of violence. It made me understand the conflict in a way that I previously didn't understand. There are very real criticisms that one can make of the network, but I learned a lot from it and it's unfortunate that it doesn't still exist.<br />
<br />
As an end-note to that experience, I should perhaps pass on one last experience that I had while a participant in the group. We didn't have a lot of direct confrontations with the fascists, while I was in the group, but one exception was a labor organized, immigrants rights rally that the National Socialist Movement decided to protest. Involved in the protest was the same Jeff Schoep discussed above. Our engagement with the group was non-confrontational. We watched them and they watched us. It let the far more important event go on. However, at the beginning of the event, we were approached by Keith Ellison, who was at that point, a state legislator. Ellison had defended the young man discussed above as a lawyer and had gotten him off many if not all the charges laid against him. He had worked with a number of ARA activists over the years and was at that time, an ally. He had helped both Anti-Racist Action and the Arise! collective when they were bizarrely accused of terrorism by a cynical and opportunist sheriff's department after 9-11. Ellison's response on seeing the NSM was to suggest in a deadpan voice that perhaps he could hit them with a tire iron this time and that we could defend him. With a change in perspective through a long education, an incident that was so shocking and outside the boundaries of acceptable behavior at the time became something that was so easily understood it could be easily passed off as an amusing anecdote.<br />
<br />
It's been a while since I've been within those circles, but they deeply shaped my views on the subject, and I've continued to listen to those involved in these fights, particularly in the recent moment, where I have been on the sidelines because of a combination of health and employment issues. I do still find myself in debates over the tactics though. When I find myself in debates over these tactics, I find myself confronting a set of assumptions held by my opponents that I frequently held many years ago, and like many converts, I find myself somewhat less than patient with the views that I once held. I suppose it's a common bad habit of the convert. One one hand, I should probably be more patient with people who I once resembled. On the other hand, its frustrating to hear argumentation that is so fraught with unwarranted assumptions and badly thought out premises. For instance, there is a tendency to collapse militant anti-fascism with Black Bloc tactics, transforming those transitory groupings put together in response to particular emergencies into a sort of homogeneous, organized group. Such tactics have been recently embraced by a lot of militant anti-fascist groups, but they weren't a dominant tactic within ARA organizing, and don't represent the sole militant strain of action against fascists in the present. Just as significantly, we can see in the case of the major protests that the groups that have embraced these tactics have taken different approaches in different situations. We're discussing networks and an umbrella of tactics, and critiques need to deal with that reality.<br />
<br />
Much of this debate is driven by the representation of these protests by the dominant media. We frequently immediately link violence against fascists to those engaged in Black Bloc tactics or militant anti-fascists in opposition to a group of peaceful protesters, but a lot of people really don't like these groups and will throw down against them in ways that get erased in that sort of narrative. Certainly, this was the case in the way the dominant media talked about the confrontations at the protest against Milo Yiannopoulis in Berkeley. Most of the activists who were on the ground for that protest talked about the forms of cooperation that occurred between those participating in the Black Bloc and other protesters against fascist provocateurs, but this aspect of the protests was utterly effaced by the media who presented a far different story, one that transformed fascists looking for a fight into peaceful protesters assaulted by a mob that had infiltrated an otherwise peaceful protest. Images taken out of context created this narrative and there was no effort to put those images into any real context. Like myself several years previously, those reporters made no effort to understand the context of the situation or the nature of the groups that they were writing about. They assumed that they were a group of individuals engaged in unpleasant speech acts rather than what they were, an authoritarian mob seeking to create a racist and authoritarian society.robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-8919125099147305552017-09-07T18:26:00.001-07:002017-09-07T18:26:14.546-07:00A Short Review of Charles E. Cobb Jr's This Nonviolence Stuff'll Get You Killed: How Guns Made the Civil Rights Movement Possible<span class="readable reviewText"><span id="freeTextreview1090638219">I
initially looked at the reviews of the book at the Amazon website before I started
reading Charles E. Cobb Jr's <i>This Nonviolence Stuff'll Get You Killed: How Guns Made the Civil Rights Movement Possible</i>, and it's pretty clear that the book is being embraced by some
in the gun rights movement as a vindication of their political
positions. The title also provocatively invites this interpretation, but this reading strikes me as a profound misunderstanding of
the book. Rather than attempting to intervene in those particular
debates, the text is primarily a critique of the dominant image of the
civil rights movement, an image that presents the movement as a top down phenomenon, tied to a
small group of spectacular images and charismatic men. Instead, Cobb
brings the idea of armed self defense to look at how the civil rights
movement could only be understood within the context of the larger Black
freedom movement, and the self-organization of tenant farmers, former
veterans and other groups and individuals who had no particular
investment in the tactic of non-violence. The movement was also deeply shaped by the cultural formations of the African-American communities that were mobilizing themselves to challenge the apartheid structures of the United States, the everyday use of guns only playing one aspect of that formation. </span></span><span class="readable reviewText"><span id="freeTextreview1090638219"><span class="readable reviewText"><span id="freeTextreview1090638219"></span></span></span></span><br />
<span class="readable reviewText"><span id="freeTextreview1090638219"><span class="readable reviewText"><span id="freeTextreview1090638219"><br /></span></span></span></span>
<span class="readable reviewText"><span id="freeTextreview1090638219">Starting with a history of
Black armed self defense from the beginning of U.S. history, Cobb shows that the forms of self-defense advocated by the Black Panthers and others were a far more traditional response by the Black freedom movement. Within this context, the non-violence advocated by the mainstream of the civil rights movement was a novel approach to protest, and an approach frequently misunderstood by older activists and intellectuals, such as W.E.B. Du Bois. At the same time, Cobb maps
out how these older groups were able to cooperate and organize with the
newer non-violent civil rights movement to form a powerful social
movement that was embedded into the everyday life of their communities.
Cobb argues that the civil rights movement could not have succeeded
without these organizations, and at the same time, these organizations
recognized the importance of the non-violent movements despite their
unwillingness to embrace their commitment to non-violence. Within this context, non-violence becomes a series of tactical and strategic approaches that could be combined with armed self-defense. The same group of protesters who sat in at the restaurants and other institutions were often defended from vigilante violence by armed former soldiers while they slept. In addition,
despite the immense power of these forms of social organization, Cobb
does not present the end of these movements in a triumphant light,
capturing the ambiguities and sense of loss with the end of the
movement, despite it's immense effect on the social structures it
attempted to overthrow. </span></span><br />
<br />
<span class="readable reviewText"><span id="freeTextreview1090638219">In a certain sense, you could think of the text
as operating within the long tradition of the genre of history from
below more than anything else. It's very readable, as well. I highly
recommend this text.</span></span>robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-69268117254736236232017-08-30T19:32:00.001-07:002017-08-30T20:01:37.867-07:00Fire on the Mountain and the Representation of History The recently proposed television series, "Confederate", by the showrunners of Game of Thrones has created a great deal of controversy online. The show proposes an alternative history in which the civil war ends as a stalemate and the Confederacy persists as a slave-holding nation. Unsurprisingly, the proposal has been greatly controversial, particularly in the face of the explosion of authoritarian white nationalist activism and organizing in the past few months. The push back against the proposed show has taken multiple forms, from challenging the ability of the showrunners to create such a narrative in a thoughtful manner to the persistence of such narrative recreating the "Lost Cause" myth and even the legitimacy of white artists creating the narrative. An additional response has been a proposed alternative history that would imagine the country after reparations. However, within the margins of these conversations, a number of science fiction fans have brought up an alternative narrative, <i>Fire on the Mountain</i>, a 1988 novel by Terry Bisson that imagines a history where John Brown's uprising succeeds due to the participation of Harret Tubman in the uprising. As far as I can tell, very little attention has been given to the Bisson narrative within the context of the above controversy, so I thought I would write a brief essay discussing its imagined alternative history, and its explicit assessment of the history of the country.<br />
<br />
The narrative of <i>Fire on the Mountain </i>itself is richly created, oscillating between the narrative of a former slave who participated in the uprising and his great-granddaughter, who is reviewing the memoirs of her grandfather in the socialist republic of the southern United States in the late 1950's. The story richly imagines the experience of the successful slave uprising, while constructing a plausible southern socialist republic, preparing to send astronauts to Mars after a failed previous mission. The first imagines the uprising as a slow build up of resources, with the insurgents first taking to the mountains to engage in a guerilla struggle before succeeding in putting together a successful army, and brings the historical personas of Brown and Tubman alive through their engagement with the youthful protagonist of that section of the novel. The southern socialist republic in turn is created through references to novel technological developments and social structures, pointing to a radically different society Between those stories, the slave revolt and successful construction of the independent republic contributes to a series of global rebellions, from a successful Paris Commune to an eventual successful workers' revolt in the north, starting in Chicago.<br />
<br />
Through that process,the novel effectively poses the successful revolt as a novum, a novelty that transforms the terrain of history, and takes up the hypothesis in the first German preface to Marx's Capital, where he states, "As in the 18th century, the American war of independence sounded the tocsin for the European middle class, so that in the 19th century, the American Civil War sounded it for the European working class." A prognostication that he expands with the following material on the process of the destruction of slavery, "At the same time, on the other side of the Atlantic Ocean, Mr. Wade,vice-president of the United States, declared in public meetings that, after the abolition of slavery, a radical change of the relations of capital and of property in land is next upon the order of the day. These are signs of the times, not to be hidden by purple mantles or black cassocks. They do not signify that tomorrow a miracle will happen. They show that, within the ruling classes themselves, a foreboding is dawning, that the present society is no solid crystal, but an organism capable of change, and is constantly changing" Within the context of these statements, the destruction of the institution of slavery creates a possibility of transformation if fully implemented, albeit an uncertain one. Bisson simply extrapolates from the other side of this hypothesis.<br />
<br />
At the same time, it presents a stark image of the present of the present within its pages through an illicit parody novel produced by proslavery forces in the revanchist North that imagines a path of history that look remarkably similar to our own. To get a sense of how this is described, we need to a look at an extended passage of the novel that describes the parody novel and its story. <br />
<br />
"You never read it? I wrote a paper on it in college It was a bestseller in the 1920s. It's a border fantasy, a what-if."<br />
"You mean it's pro-slavery?"<br />
"Well, not exactly," Grisson said. "Worse than that, really. It's a sort of white supremacist utopia, mis-topia maybe."<br />
"So if its not about slavery, what's it about?<br />
"Empire. By the middle of the nineteenth century, slavery was about finished anyway," Grissom said. "Africans around the world were throwing it off. The real issue in the Independence War was land. Nationhood."<br />
"So there's no Nova Africa." Yasmin riffled the pages. "Does Tubman hang too?"<br />
"She's not there," Grissom said. "That's the trick the plot turns around. The idea is that instead of going on the Fourth as planned, Tubman gets sick. The raid is delayed until fall, October, I think. Brown goes without her. Now according to the book--and in actual fact--Brown was more of a strategists than a tactician. Without Tubman he hesitates, takes hostages, lets the Washington train go through. You know, in real life it was Tubman who insisted on blowing the Maryland bridge and cutting off the train. Anyway, in the book they don't blow the bridge; they get trapped in the town, captured,and hung as traitors."<br />
"So we have John Brown's body and now war."<br />
"There's still a war. It's just not an independence war. It's fought to keep the old U.S. together rather than to free Nova Africa."<br />
"So who wins?"<br />
"The North. Lincoln," Grissom said. "In the book, he become president and the war is started by the slave owners, who are trying to set up a separate country--like Nova Africa, as a matter of fact, on pretty much the same territory."<br />
"Clever."<br />
"But a slave country, run by the slave owners."<br />
"They already had that, for all practical purposes," Yasmin said.<br />
"They were losing it by 1860, or at least thought they were. They didn't want another Kansas. Anyway, in the story the North fights to keep the South in the Union. And they do. They win."<br />
"And we lose."<br />
"And how. Listen, this book was a bestseller in the U.S. in the 1920's. Lincoln's a big here; so's Lee...."<br />
"Lee?"<br />
"He leads the army for the South. He plays the good loser, the Virginia gentleman generous in victory, gallant in defeat, shaking hands at the end--all that."<br />
"Amazing," Yasmin said.<br />
"White right prevails; the slave owners keep the land, even get more. The slave system is modified so that n'Africans end up as serfs; or worse, as a sort of landless nation packed into the slums of Chicago and New York for occasional servile labor."<br />
"No Nova Africa."<br />
"Afraid not, comrade. One nation indivisible--it's old Abe's dream, and your nightmare. You don't even get a hundred acres and a Mule."<br />
"Mis-topia, dystopia, wishful thinking." (Bisson 75-76)<br />
<br />
In a curious sense, this brief conversation of an imagined parody novel of the defeated North contains the ethical core of the novel; it imagines the history of the United States as a nightmare, or a horrible parody, as terrible as it is improbable from the rational standpoint of the socialist republic. It demands that we estrange ourselves from this nightmarish history, to imagine another approach, to reject the inevitability of the present, which is presented as the result of a small series of unfortunate contingencies. At another level, it's a commentary on the possibilities and failures contained in what is often called the second reconstruction, the civil rights era, which the author participated in and saw collapse into the counter-revolution of Reaganism. To return to the initial controversy, the novel demands that we both reassess our history and to fight to create radically new social relations, a demand also implicit in the destruction of Confederate Memorial statues by anti-racist protestors. Within this context, we need to break out of the fantasies of innocence that often frame our narratives about the violent white supremacists calling themselves the alt-right. As I noted a few days ago,<br />
<br />
I've been thinking a bit about one of the ways that the so-called
alt-right movement has been criticized, notably the narrative of
treason. A lot of material has accused the movement of treason because
of its invocation of the confederacy and Nazism. The logic is,
implicitly, since these organizations support either seditious or enemy
forces, they must be condemned. I think this is a mistaken narrative.
By this logic, we should condemn John Brown, a man who clearly engage<span class="text_exposed_show">d
in military actions against the United States government in his efforts
to overthrow slavery. The problem with aligning oneself with the
Nazis, the confederacy, and the Klan is that these are brutally racist
and authoritarian social movements, not that they are treasonous.
Implicit in the effort to brand these movements treasonous is an effort
to declare them exogenous, outside the national narrative, which strikes
me as a profound erasure of the history of our country. Rather than
engaging in this fantasy, we should acknowledge that these forces are
fully a part of our nation, and because of that, need to be combated all
the more. The fight against fascism should be a fight to transform the
nation and perhaps even to obliterate it as it currently exists, not to
preserve it.</span><br />
<br />
In either case, the novel takes the forms of estrangement embedded in science fiction and creates a remarkable alternative world, refusing the abyss of the counter-revolution, even as it marks that abyss. Within this framework, the novels demolishes the 'Lost Cause' myth by
showing the continuation of the white supremacy at the heart of the
supposedly defeated Confederate cause, showing its preservation in the post-reconstruction era. In this sense, the estrangement embedded in the imagined narrative of Confederate contains a deep mystification, and an inability to grasp the history of the country.<br />
<br />robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-83007553976663037572017-08-11T14:06:00.000-07:002017-08-11T14:06:39.797-07:00Some Thoughts on Colonialism and Science Fiction<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Within
the context of the recent Hugo Awards, science fiction writer, Cixin Liu made
the following comment, “If the aliens would like to attack us, they would never
consider whether you’re from China or the U.S.”<span style="mso-spacerun: yes;"> </span>The comment is obviously meant to reference
a common humanity, one that spans the divide between two countries who have a
long history of conflict.<span style="mso-spacerun: yes;"> </span>It also
implicitly references a common interest of Chinese and U.S. fans in science
fictional narratives.<span style="mso-spacerun: yes;"> </span>So, we’re all
human, and we all like science fiction.<span style="mso-spacerun: yes;">
</span>At the same time, it also mirrors a curious remark made by Ronald Reagan
to an apparently perplex Mikhail Gorbachev during diplomatic talks.<span style="mso-spacerun: yes;"> </span>Reagan evidently noted that the two countries
would by necessity unite in response to a common Martian threat.<span style="mso-spacerun: yes;"> </span>It should be noted that this narrative
structure has been used in a lot of popular science fictional narratives to
imagine a United Earth, from blockbuster movies to far more esoteric
narratives.<span style="mso-spacerun: yes;"> </span>But, does this basic premise
hold up?<span style="mso-spacerun: yes;"> </span>I don’t think so.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">It
operates on the premise of an alien attack that lacks any tactics, strategy, or
any subtlety.<span style="mso-spacerun: yes;"> </span>When we turn to the
history of colonization, which these narratives from the time of H.G. Wells<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[1]</span></span></span></span></a> have been referencing, we
see a far different approach to attack.<span style="mso-spacerun: yes;">
</span>Within those context, whether the destruction of the indigenous
populations of the Americas or the colonizing projects in Asia and Africa, we
see a process in which the colonizers make temporary alliances with local
elites, create divisions within populations and exacerbate already existing
tensions.<span style="mso-spacerun: yes;"> </span>This process is intimately
linked with the process of knowledge production and categorization. The
enlightenment’s love of the construction of taxonomies and the process of the primitive
accumulation of capital are profoundly intertwined.<span style="mso-spacerun: yes;"> </span>Perhaps to put it more simply, the desire to
understand through category is not easily separable from a desire to control.<span style="mso-spacerun: yes;"> </span>Within this process, knowledge production is
not simply a reflection of existing conditions, but an active reshaping of
those conditions, at times deliberately, at times accidentally.<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[2]</span></span></span></span></a></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>So, if we look at India, for instance, we see
an entire religious category, the “Hindu”, constructed out of a multiplicity of
religious traditions that often overlap, but also often contradict one another.<span style="mso-spacerun: yes;"> </span>These categories then are taken up by the
populations themselves and often take a life of their own, for instance, in the
form of “Hindu Nationalism.”<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[3]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span>We can see a similar process in the creation
of the concept of blood quantum designed by the United States government to
decide who qualifies for tribal membership or the construction of townships in
South Africa.<span style="mso-spacerun: yes;"> </span>In effect, colonial
governance continues along the same lines as imperialist aggression,
constructing an elaborate and hierarchical taxonomy of the governed population,
creating divisions and rivalries built upon the always inadequate resources
distributed by the colonial regime.<span style="mso-spacerun: yes;"> </span>In
that process, the categories constructed become lived experience for those who
are classified under them.<span style="mso-spacerun: yes;"> </span>After all, it
defines what access they have to resources, education, and employment.<span style="mso-spacerun: yes;"> </span>It also often constructs local elites whose
power is enhanced by the colonial process, who are invested in the imperial
government.<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[4]</span></span></span></span></a></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">This
all adds up to a very elaborate way of saying that there is a very good chance
that our future alien overlords may care very deeply about the differences
between the United States and China, and further divisions that may in fact be
deeply incomprehensible or meaningless to us.<span style="mso-spacerun: yes;">
</span>I see no particular reason why an aggressive alien species that has
clearly developed the advanced forms of military technology needed for such an
invasion wouldn’t also be able to develop the same set of knowledge skills that
allowed Europe to transform itself from a backwater into the center of the
world system.</span></div>
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
War of the Worlds, First Men on the Moon</div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
Too many sources to be mentioned</div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>
The basics of this get covered by Karen Armstrong in her book, Fields of Blood,
but there’s a lot more scholarship on the topic, particularly on the part of
post-colonial scholars.</div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6301538619639403161#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
See Mahmood Mamdani, Citizen and Subject: Contemporary Africa and the Legacy of
Late Colonialism, which this analysis borrows heavily from</div>
</div>
</div>
robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-26684984223780656862017-08-01T15:52:00.000-07:002017-08-01T15:52:13.476-07:00M'Boom Live<div style="text-align: left;">
I came across this recording on YouTube in my attempts to find music suitable for playing while my students worked with each other on their papers, and thought I would share it with you here. It's a early seventies recording of Max Roach's percussion group M'Boom, which he founded in 1970. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<br /><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Kk9NaHsobew" width="560"></iframe></div>
robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-72339770486438632012017-07-28T16:11:00.000-07:002017-07-28T16:11:38.781-07:00Pre-election thoughts on the protests at that time<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;">I wrote this material about three months before the election in response to the massive protests that were occurring at the time. In many ways, the spirit of these protests continued on through to the first few months of the Trump administration, particularly in the form of the protests at the airports that occurred when the Muslim ban was first announced, but also in the form of street fights with the so-called alt right and the far more legal and formal protests of the women's march. It also took a far smaller and local form through protests of representatives and phone calls as well. However, it seems like that high tide of protest has at least ebbed. My hope is that we will see such forms of ungovernability soon and in larger numbers. I put up the essay as a marker of the time period. I'm not sure if I would write it the same way at this point, but I still think its worth putting up.</span></span><br />
<br />
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>In
the proliferation of such a massive amount of political action within the past
year, particularly around the Black Lives Matter movement, I found myself
thinking of a passage within Rosa Luxemburg's treatise on the Russian
revolution of 1905, titled "The Mass Strike".<span style="mso-spacerun: yes;"> </span>Luxemburg exams the phenomenon of the mass
strike within the revolution as both a critique of the top down notions of
struggle as developed by mainstream of the main intellectual of the SPD, Karl
Kautsky, along with the ahistorical concept of the mass strike as developed by
anarchists.<span style="mso-spacerun: yes;"> </span>In opposition to both,
Luxemburg emphasizes the mass strike as a phenomenon that arises out of the
self-development of the proletariat through the process of the class
struggle.<span style="mso-spacerun: yes;"> </span>Through that engagement, Luxemburg
emphasizes both the multiplicity of the struggle, along with intensity of the
struggles.<span style="mso-spacerun: yes;"> </span>She notes:</span></div>
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The
mass strike, as the Russian Revolution shows it to us, is such a changeable
phenomenon that it reflects all the phases of the political and economic
struggle, all stages and factors of the revolution. Its adaptability, its
efficiency, the factors of its origin are constantly changing. It suddenly
opens new and wide perspectives of the revolution when it appears to have
already arrived in a narrow pass and where it is impossible for anyone to
reckon upon it with any degree of certainty. It flows now like a broad billow
over the whole kingdom, and now divides into a gigantic network of narrow
streams; now it bubbles forth from under the ground like a fresh spring and now
is completely lost under the earth. Political and economic strikes, mass
strikes and partial strikes, demonstrative strikes and fighting strikes,
general strikes of individual branches of industry and general strikes in
individual towns, peaceful wage struggles and street massacres, barricade
fighting – all these run through one another, run side by side, cross one
another, flow in and over one another – it is a ceaselessly moving, changing
sea of phenomena. And the law of motion of these phenomena is clear: it does
not lie in the mass strike itself nor in its technical details, but in the
political and social proportions of the forces of the revolution. (Luxemburg,
The Mass Strike)</span></div>
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>At
the most immediate level, we can see that Luxemburg recognizes what Louis
Althusser might later refer to as a moment of revolutionary fusion as occurring
within the years of her analysis.<span style="mso-spacerun: yes;"> </span>An
almost infinite array of discrete and concrete struggles or contradictions came
together, aligned themselves in a manner to challenge the very nature of the
empire.<span style="mso-spacerun: yes;"> </span>But her insight moves beyond
that initial insight.<span style="mso-spacerun: yes;"> </span>If we see a moment
of revolutionary fusion, it does not take the form of a synthesis.<span style="mso-spacerun: yes;"> </span>Instead the struggles maintain their
multiplicity, their inability to form a whole.<span style="mso-spacerun: yes;">
</span>At the same time, the struggles are marked by a form of indistinction,
of mutation, 'peaceful wage struggles' become 'street massacres, barricade
fighting'.<span style="mso-spacerun: yes;"> </span>Through this description, we
can see an embrace of what Hobbes phobically linked to the figure of the
multitude, a disjointed and militant mob that refuses to become a people and
refuses to be governed.<span style="mso-spacerun: yes;"> </span>Luxemburg draws
on the naturalistic metaphor of the sea to describe the pervasiveness of the
social movements of the time and their ability to adapt and mutate themselves
in the face of a multiplicity of efforts to repress that refusal.<span style="mso-spacerun: yes;"> </span>The movements ‘bubble forth’ ‘ceaselessly’
move, and constitute a ‘changing sea of phenomena.’<span style="mso-spacerun: yes;"> </span>She ties that movement to the strength of the
revolutionary forces in the country, to the logic running counter to capital.<span style="mso-spacerun: yes;"> </span>One one hand, these movements reflect the
multiplicity that is at the heart of the concept of use value, the multiplicity
of needs that continually exists exogenously to the logic of exchange, even as
exchange is absolutely dependent on that multiplicity.<span style="mso-spacerun: yes;"> </span>On the other hand, the movements constitute a
kind of counter flow to the flows of labor and commodities that define
capitalist accumulation.<span style="mso-spacerun: yes;"> </span>It’s a flow
that refuses the coagulation into the logic of exploited dead labor, the
infinite exchangeability of labor time.<span style="mso-spacerun: yes;">
</span>Inasmuch, these movements point to an alterity always present within
capital, the potential for another way of life.</span></div>
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>In
the past year, we have been seeing a similar moment in our own country, albeit
with a smaller magnitude than the one that Luxemburg discusses, largely, but
not exclusively around the phenomenon labelled Black Lives Matter<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">[1]</span></sup></span></sup></a>.<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">[2]</span></sup></span></sup></a><span style="mso-spacerun: yes;"> </span>To rehearse material that is undoubtedly
familiar to the audience, we have seen an explosion of demonstrations in
response to police violence.<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">[3]</span></sup></span></sup></a><span style="mso-spacerun: yes;"> </span>That violence has become a focal point to
challenge the ever-changing structures of white supremacy that at are so
significant in structuring the logic of capitalist accumulation, both at the
present moment and through the entire history of the country.<span style="mso-spacerun: yes;"> </span>It’s taken the form of insurrectionary
violence<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">[4]</span></sup></span></sup></a>
in Ferguson and other cities, objects hurled at police officers, freeway
occupations around the country, peaceful marches of school children, lock-downs
of police stations, demands made to Democratic presidential candidates, and a
variety of other conventional protest.<span style="mso-spacerun: yes;">
</span>The truth is that any effort to document the rich variety of protest
will necessarily fail in capturing the rich diversity of activities that has
occurred in the past year, and any effort to demarcate these protests as being
a part of a particular moment is necessarily going to erase the histories that
feed into these protests and inform their logic.<span style="mso-spacerun: yes;"> </span>At the same time, we can see a particular
language of action, slogans, and social formations that are particular to this
moment. And we can see the impact of those movements on the presidential
campaign through the disruption of the Sanders and Clinton campaigns, through
explosive protests against the racist authoritarian nature of the Trump
Campaign.<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">[5]</span></sup></span></sup></a>
Through those actions, it has introduced a genuinely democratic and agonistic
dimension to the stage managed theatrics of the presidential campaign.<span style="mso-spacerun: yes;"> </span>The movement has also challenged the
connections between the traditional trade union movement and police unions, and
has succeeded in creating a meaningful wedge between these formations.<span style="mso-spacerun: yes;"> </span>It has also formed alliances with elements of
those traditional structures.<span style="mso-spacerun: yes;"> </span>But
perhaps most significantly, it has transformed the freeway, that representation
of the flow of labor, of commodities, into a representation of a profound
refusal, through its blockage.<span style="mso-spacerun: yes;"> </span>We’ve
seen this tactic not only employed in cities traditionally associated with protest,
but across the country.<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">[6]</span></sup></span></sup></a></span></div>
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Within
this web of activity, we can see the possibility of a new form of live,
although perhaps only in a negative form, through the refusal of so many to be
governed by the same oppressive institutions that have committed such
violence.<span style="mso-spacerun: yes;"> </span>We can perhaps see the
capacities of such a movement in its spectral form, in the phobic descriptions
of the movement by the recent comments by Milwaukee Sheriff David Clarke at the
Republican National Convention.<span style="mso-spacerun: yes;"> </span>Clarke
marks the organization, along with the Occupy movements, as breaking an
unspoken and unwritten code of conduct for the country, and therefore standing
outside the respectable conventions of protest, and representing anarchy.<span style="mso-spacerun: yes;"> </span>It’s initially difficult to negotiate this
description with the often quite modest political reforms called for by the
official representatives of the movements, but it makes sense when we look at
the protests themselves, which have pushed far beyond these official demands in
their radicality.<span style="mso-spacerun: yes;"> </span>It also makes sense
when we see the refusal of even the reform branch of the movement to be
formally incorporated into the political system.<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">[7]</span></sup></span></sup></a><span style="mso-spacerun: yes;"> </span>If anything, we have seen an intensification
of this refusal in the continuation of street protest, despite the calls for official
calls for calm after sniper attack in Dallas.<span style="mso-spacerun: yes;">
</span>Through such actions, we see a movement that is increasingly unconcerned
with the preservation of the forces of the status quo.<span style="mso-spacerun: yes;"> </span>At the same time, it would be a mistake to
ignore the precarity of the contingent web of alliances that created this
potential historic bloc.<span style="mso-spacerun: yes;"> </span>At the most
obvious level, there is the threat of the opportunistic incorporation of this
formation into the Democratic Party, a threat that is most notably media
personality and former mayoral candidate, DeRay Mckesson.<span style="mso-spacerun: yes;"> </span>However, the conflicts that defined the
freeway occupation in Minneapolis between activists seem like a greater
threat.<span style="mso-spacerun: yes;"> </span>Without getting into the
details, the arguments represent long historical divisions that intersect
questions of identity and tactics.<span style="mso-spacerun: yes;"> </span>They
represent the profoundly divided nature of the proletariat itself, and aren’t
easily resolved through simple slogans.<span style="mso-spacerun: yes;">
</span>The question the movement and those who wish to see it succeed have in
front of them is how to make this multiplicity productive and grow.<span style="mso-spacerun: yes;"> </span>We can see the violence of the backlash
beginning to grow.</span></div>
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[1]</span></sup></span></sup></a><span style="font-size: 10.0pt;"> Although it may actually involve more people than
were involved in the insurrectionary activities in the Russian Empire at the
time.</span></div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[2]</span></sup></span></sup></a><span style="font-size: 10.0pt;"> Given some of the confusions around the slogan, I
should note that I am referring to the larger movement that has congealed
around the term, rather than the specific network that has named itself Black
Lives Matter.<span style="mso-spacerun: yes;"> </span>The distinction is
important since the movement is far larger than the network and contains both
elements far more insurrectionary than the network, along with highly
opportunist individuals and groupings tied to the Democratic Party and Teach
For America.</span></div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[3]</span></sup></span></sup></a><span style="font-size: 10.0pt;"> There is a need more a more intense engagement with
the logic of policing, one that could be informed by the work of Ruth Wilson
Gilmore, who draws from the earlier work of Marx and Foucault amongst others.<span style="mso-spacerun: yes;"> </span>There is also a larger conversation within
the Black Radical Tradition, as well.</span></div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[4]</span></sup></span></sup></a><span style="font-size: 10.0pt;"> It’s important to note that this has been largely limited
to property damage, but not exclusively.</span></div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[5]</span></sup></span></sup></a><span style="font-size: 10.0pt;"> Which was produced by a large intersection of actors,
but this could be said about the broad phenomenon, as well.</span></div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[6]</span></sup></span></sup></a><span style="font-size: 10.0pt;"> The tactic itself deserves more discussion than
provided here, and it would be a mistake to think of the action as a
unified.<span style="mso-spacerun: yes;"> </span>Instead, we have seen very
different approaches to taking over freeways.<span style="mso-spacerun: yes;">
</span>Some have been mass actions, while others have been controlled protests
by small groups.<span style="mso-spacerun: yes;"> </span>Some are deliberately
designed as acts of civil disobedience, while others are taken up by parties
who are not interested in being arrested.<span style="mso-spacerun: yes;">
</span></span></div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="normal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://www.blogger.com/blogger.g?blogID=5945016886713876407#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><sup><span style="mso-special-character: footnote;"><sup><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[7]</span></sup></span></sup></a><span style="font-size: 10.0pt;"> Once again, we definitely see some opportunist
exceptions, but the network has largely refused this incorporation.</span></div>
</div>
</div>
robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-54050747061427254472017-07-27T17:14:00.004-07:002017-07-27T17:14:50.012-07:00Cognition and Fantasy: China Mieville's Subversion of Fantastic Literature (a rough draft of a talk)It's been a while since I have posted and I have woefully failed to live up to my previous plans as discussed on the blog. I posted nothing on the Hugo Awards and don't plan to at this point, and most of my other plans have been forgotten. A lot of this had to do with travel, but it also had to do with lack of inspiration. However, during this time, I managed to get an article accepted for publication and gave a short talk at the Marxist Literary Group talk at UC Davis. I thought I would post that talk to get the blog started up again. This is lightly revised, but I plan on putting together a far more polished and expanded version of the paper in the future for another venue.<br /><br />A narrative thread in the second book of the Bas Lag trilogy, <i>The Scar</i>, offers a potentially productive entrance into an analysis of the work of China Mieville’s relationship to the fantastic. The novel itself shifts focus from the city of New Crobuzon in the first novel to the sea, following the voyage of Bellis Coldwine as she seeks to escape the city into exile. The ship she is on is eventually captured by a group of pirates and is taken to their floating city, Armada. However, the significant part of the narrative for us begins just before the capture of the ship, with the diplomatic visit to Salkrikaltor City, the city of the cray, that introduces Bellis’ companion through most of the voyage, Silas Fennec. Fennec is immediately introduced as a significant figure within the government of New Crobuzon, and commandeers the ship for an unnamed purpose. However, his plans are thwarted by the pirate takeover of the ship. After that occurs, Fennec eventually turns to the protagonist, Bellis, for support. In the process of getting her support, Fennec tells a variety of different stories why he left the isolated grindylow community that he had been living with for years. The initial story involved breaking a mysterious taboo of the society, and his story shifts to involve a conflict with a shaman, an inexplicable invasion of the city of New Crobuzon, and finally, the theft of a sacred magical object. <br /><br />In each of these stories, the grindylow are marked as the mysterious and threatening other that simultaneously threatens and stabilizes the meaning of the imperial center of New Crobuzon. The grindylow are inexplicable, and mark the limit point of reason. Through the invocation of such a threat, Fennec is able to convince Bellis to send a secret message to the city of New Crobuzon, which, unknown to her and her friends, also includes information about the city of Armada. When this betrayal is discovered, Bellis and her friends are taken prisoner and Fennec must go on the run, increasingly dependent on the magical device stolen from the grindylow, which begins to transform him and is interpreted by Bellis as the ultimate reason why the grindylow hunt the ship. <br /><br />However, when the grindylow eventually catch up to the ship and overtake it, they contemptuously slap the magical totem out of Bellis’ hands when she offers it to them to abandon the attack and gather up Fennec and his notebook full of the shipping routes that he planned to give to the government of New Crobuzon. The collection of stories that Fennec had been telling throughout the narrative turn out to be a series of lies, designed to appeal to the prejudices of Bellis, and to cover up the genuine goal of undermining the trade monopoly of the equally rational grindylow by the city of New Crobuzon. This reversal is emblematic of the narrative structures of China Mieville’s novels, upending and subverting the conventions of fantastic literature and their relation to cognition. If fantastic literature is the literature of limits, whether in the form of the limits of cognition within the framework of Todorov or transgression in the work of Rosemary Jackson, Mieville continually shows up those limits as ideological constructs through a parody of an expectations of the fantastic. Through this parody, he produces a kind of cognitive fantasy that folds the liminal imagery of the fantastic into the flow of capital and its resistances. <br /><br />However, this term, cognitive fantasy is in direct contradiction to the generic analysis of Darko Suvin, who implicitly inspires this term. Suvin is an early critic of science fiction, and was one of the founders of Science Fiction Studies. His book Metamorphoses of Science Fiction is an early attempt to classify science fiction as a genre through a series of oppositions that shores up the definition of the genre through those distinctions. Suvin argues that science fiction can be distinguished from other genres via a concept of a multi-dimensional cognitive estrangement, that both separates it from realism due to its estrangement and away from myth, fantasy, and folklore due to its multi-dimensional and cognitive nature. Suvin separates the novum or innovation of science fiction from an emphasis on the formalities of technology and scientific data that comes out of the tradition of Jules Verne. Instead this novum is linked to the anticipation for another future and the oscillation between the social laws that define that future and the laws that define contemporary society. The estrangement provided by science fiction operates between the oscillation between the reader’s critical engagement with the alternate environment as it exists in the novel and the world as it is ideologically constructed. <br /><br /> For our purposes, Suvin’s oppositions need to be explored more fully. Most significantly for our conversation, science fiction must be defined in opposition to the genre of fantasy through the category of cognition. Suvin frames this opposition in the following manner. <br /><br />“Even less congenial to SF is the fantasy (ghost, horror, Gothic, weird) tale, a genre committed to the interposition of anti-cognitive laws into the empirical environment. Where the folktale is indifferent, the fantasy is inimical to the empirical world and its laws. The thesis could be defended that the fantasy is significant insofar as it is impure and fails to establish a superordinated maleficent world of its own, causing a grotesque tension between arbitrary supernatural phenomena and the empirical norms they infiltrate” (Suvin). <br /><br />The fantastic is defined by its antagonism to the ‘empirical world and its laws.’ Rather than exploring the possibilities for transformation within the contradictions and tensions of the world as it exists, the fantastic creates a form of estrangement that exists in a sort of malevolent tension with the world. The fantastic is a literature of irrationality and limits to the possibility of critical cognition. In a sense, we are not that far away from the definitions of the genre offered by Todorov and Jackson, even if we are looking at those rules from a drastically different and phobic perspective. The fantastic shatter the possibility of certainty, setting up a set of static laws even as the genre transgresses them. The monstrous images of the fantastic freeze the ability to develop a complex and nuanced understand of the world. For Suvin, the estrangement of the fantastic represents a reactionary trend within literature. It’s a deeply reactionary artform, defined by irrationality and escapism, and is one that Suvin sees as a constant threat to the cognitive dimension of science fiction. <br /><br />However, Mieville’s narrative structure throws the generic schema of Suvin into crisis through his hybridization of science fictional and fantasy generic forms. At initial reading, this process of hybridization might not be of great concern in Suvin’s interpretation of the narrative forms. After all, Suvin recognizes the influences that science fiction draws from a variety of sources, including fantastic literature. However, he largely interprets those negatively, examining how a variety of pulp influences draw science fictional narratives away from a commitment to cognitive estrangement into a variety of forms of mystification. This is where Mieville’s narrative becomes so problematic for Suvin’s narrative framework. His work is committed to a rigorous exploration of the social, political, and cultural structures of its world, while at the same time, engaging with the history of fantastic literature in its formal structure. Mieville imagines a materialist engagement with the fantastic, producing a set of naturalistic rules for the functioning of magic and fantastic creatures, and more significantly, by placing those creatures into a history of domination and resistance, of exploitation and racialization that critically comments on the history of colonialist exploitation of the past 500 years, rather than simply replicating its effects. <br /><br />Mieville hasn’t limited his critique of Suvin to the implicit material contained in his fiction either, giving critical lectures on the subject and taking it on in his essays. All of this material works to reject the distinction between the non-cognitive and reactionary fantastic and the cognitive and progressive science fiction. In his talk at Kansas University, Mieville engages with the limitations of the theoretical framework as developed by Suvin and Carl Freedman, showing how the “cognitive effect” emphasized by both authors is a product of a kind of rhetorical maneuver, a trick on the part of the author to get the reader to get them to accept the cognitive effect of the work in question. Mieville notes that this largely operates as a consensual game, but that the logic implicit in the work of Suvin and Freedman evades the way that the modes of scientific cognition that both celebrate are formed out of and are embedded in the logic and violence of capitalist accumulation. He rejects the ‘epistemological firewall’ implicit in the concept of cognition and argues that science fiction and fantasy should be seen as slightly different modes of estrangement, both deeply embedded in the ideological matrix of capitalist accumulation. <br /><br />Mieville’s critique certainly represents an engagement with a dominant strain of reading Suvin’s work, one that emphasizes the cognition of the scientific method over Suvin’s interest in in temporality and historical transformation. Insofar as that engagement with Suvin reproduces the epistemological firewall discussed earlier, it represents an important intervention, but it potentially misses out on the other dimension of Suvin, the cognitive process that challenges the inevitability of capitalist accumulation. That other dimension of cognition, a definition that is connected to the idea of cognitive mapping as borrowed from Kevin Lynch in The Image of the City by Fredric Jameson, can potentially connect the two through another notion of cognition. Within this context, Mieville’s engagement of the genre can be perhaps understood through a structurally possible, but unexplored dimension of Suvin’s work, which recognizes the ability of fantasy to reduce the cognitive dimension of science fiction, but leaves out the ability to imagine a cognitive or materialist fantasy. As Mieville notes in his discussion of Carl Freedman’s extension of Suvin’s work, “…if the predicates for a fantasy are clearly never-possible but are treated systemically within the fantastic work, then its cognition effect is precisely that normally associated with SF (Mieville 339). Although the comment is not followed up on in the essay, the interest in this sort of cognitive or even materialist fantasy can be found elsewhere. <br /><br />The building blocks of Mieville’s construction of a materialist or cognitive fantasy can be found in his introductory essay on H.P. Lovecraft’s The Mountains of Madness. <br /><br />“Lovecraft is pulled to do this in part by the “scientism,” the materialist articulation, of his vision, which embeds horror in material reality. Through a key driver behind this new form of weird was the specific political/cultural apocalypse of the war, in its own aesthetics a materialist “scientific” weird implies a universe that has always been monstrous and implacable. Lovecraft’s uncanny, in other words, expresses this radically new crisis precisely by depicting an eternal and unsympathetic uncanny. <br /><br />This is the paradox in this utterly new kind of fantasy. In expressing the ‘supernatural’ in materialist terms, Lovecraft will not use the standard figures of supernature, with all their mythic baggage. But his materialism means it is not just in his creatures that horror lies, but in the material reality that they are a part—and that awe-ful reality is eternal. Lovecrafts’s radical innovations must seem to have resonated for eons” (Mieville xvi). <br /><br />Although it is an odd place to begin framing a materialist fantasy, Mieville sees in Lovcraft a shifting of the topography of fantasy. The horror of the first world war causes a dramatic shift Lovecraft’s fantastic world, shifting it from the supernatural to natural and the material. The horror of the world is a product of the indifference of the natural laws of the universe, and is no longer the product of a supernatural good and evil, terms that simply are mistakenly placed on the indifferent phenomenon by a primitive and mistaken humanity. At the same time, there is certainly still a dimension of mystification within this framework, as it expresses ‘this radically new crisis precisely by depicting an eternal and unsympathetic uncanny.’ The cause for the innovation, a distinctively historical shift, is still occluded from the discussion. At the same time, the fantastic is not a product of a supernatural dimension intruding into the empirical world. If the fantastic cannot be understood by humanity, that lack of understanding is produced through the cognitive limitations of humanity itself, and the monstrous creatures operate within their own unnamed naturalistic expectations. <br /><br />The distinct shift that Mieville introduces into the genre is the dimension of historicity. The fantastic is not only made material, but made historical, notably in a manner that intersects with the forms of mystification and obfuscation that are embedded in the commodity form itself. For Mieville, this critical engagement can allow for a critical engagement with capitalism’s modes of domination that are made invisible in the ‘zero world’ of ‘naturalism.’ Mieville notes, “Under capitalism, the social relations of the everyday—that “fantastic form”—are the dreams, the grotesque”, of the commodities that rule” (Mieville, Marxism and Fantasy 336). The estrangement of science fiction may help in revealing those structures of domination, the ‘social relations of the everyday” that are the “grotesque of the rule of the commodity, and point to the possibility of another structure of social relations. The fantastic no longer simply is a symptom of the contradictions of capital, a sign of the deluge of the counterrevolution to use the terms of a later essay by Darko Suvin, but a way into understanding the grotesque relations created through the commodity form. But Mieville’s transformation of the fantastic genre goes beyond the terms that he sets out for it, engaging with the history of the monstrous images of the fantastic, making them material, and using them to explore the conflicts embedded in the history of what might be provisionally and inadequately called racial capitalism. Mieville drags the liminal and supernatural constructions of the fantastic and introduce them into the rationality of capitalism and more significantly puts them into the struggles that point to the limit of that rationality. <br /><br />In this sense, Mieville’s conceptualization of the fantastic aligns itself far more with the concept of grotesque realism that Mikhail Bakhtin uses to describe the novels of Rabelais than the concepts of the fantastic developed by either Rosemary Jackson or Todorov. The concept of degradation as developed in Bakhtin’s analysis of Rabelais is helpful. Within this frame work, Bakhtin notes, <br /><br /> “To degrade is to bury, to sow, and to kill simultaneously, in order to bring forth something more and better. To degrade an object does not imply merely hurling it into the void of nonexistence, into absolute destruction, but to hurl it down to the reproductive lower stratum, the zone in which conception and a new birth takes place. Grotesque realism knows no other lower level; it is the fruitful earth and the womb, it is always conceiving.” (Bakhtin 21) <br /><br /> To be sure, there are elements of Bakhtin’s description that we need to jettison, its emphasis of the rural, the organic, the local, but the emphasis of the creative powers that the material world and the body provides a powerful tool to read the politics of Mieville’s novel. It also can be found in the supernatural elements of the story; the realms of hell, magic, etc. are all dragged into the realm of the material, rendering them up for the gristmill of capital and labor, power and counter power. To return to the image of the grave provided by Bakhtin, it is the continual production of corpses and the fear of death that continually draws the fantastic elements of the book into the productive womb of materiality. Along with this, the fantastic is continually incorporated into the instrumental world of the bourgeoisie, revealing its own fantastic nature. But that materiality goes beyond the modes of parody that are invoked above, which is represented by the concept of remaking in the Bas Lag novels. Remaking is a form of punishment in the world, a product of bio-thaumaturgy, a sort of rationalized magic that is used to manipulate the body, and more specifically used to punish criminals by transforming them in a manner that replicated the nature of their crimes. The scene that exemplifies this process in the first novel, Perdido Street Station, involved a man whose flesh was manipulated to look like a bird-like garuda. The punishment was in response to the man’s attempt to steal a painting with the portrait of a garuda. The former thief describes the punishment as such, “Magister said since I was so impressed with garuda, I could—“ his breath caught for a moment “—I could become one.” The punishment operates as a cruel sort of parody. <br /><br />The figure before Isaac and Derkhan shivered and scratched its stomach. Its skin was pale and pockmarked with disease and cold. Isaac’s eyes wove all over its body in dismay. Bizarre nodes of tissue burst from its bunched toes: claws drawn by children. Its head was swathed in feathers, but feathers of all sizes and shapes, jammed at random from its crown to its neck in a thick, uneven, insulating layer. The eyes that peered myopically at Isaac and Derkhan were human eyes, fighting to open lids encrusted in rheum and pus. The beak was large and stained, like old pewter. <br /><br />Behind the wretched creature stretched a pair of dirty, foul-smelling wings. They were no more than six feet from tip to tip. As Isaac watched, they half-opened, jerked and twitched spastically. Tiny pieces of organic muck spilt form them as they shuddered. <br /><br />The creature’s beak opened and, underneath it, Isaac caught a glimpse of lips forming the words, nostrils above. The beak was nothing but a roughly made fixture shoved and sealed into place like a gas-mask over the nose and mouth he realized. (Mieville 100) <br /><br />The process of remaking is a deeply material process and transforms the forms of alterity implicit in fantastic literature into a deeply material, historical, and social process. The abject body of the thief turned remade is described in detail, marking the abject physical transformation of the body. It is a process that looks careless at the surface level, with its ‘claws drawn by children’ and head covered in ‘feathers of all sizes and shapes’, but beneath that surface carelessness is deliberation, designed to punish and distinguish the prisoner’s body. The disciplinary process of the state and its ability to categorize and discipline state populations is mapped onto the abject body of the criminal. By physically marking and transforming the body of the convicted, the act of Remaking becomes a way of producing a disciplinary marker on the surplus army of the unemployed, placing them outside the space of respectable society, marking them as a universally hated class. It both represents the naked power of the state, its capacity to inflict extraordinary level of pain and suffering on those who transgress its order, and a mode of abject alterity that is hated and feared. This same power is explored within the next novel, not as a way to return the punished body to its originary state, but to heal and make that body productive, to explore the possibilities implicit in that body, but both acts are twin sides of this intense materiality, a process of remaking the body, and exploring its monstrosity. The fantastic is then engaged with as a mode to engage with that history and to think through it, but that engagement is dependent on a reframing of the genre that no longer accepts it on its own terms, one that potentially could be understood under the sign of cognition. <br /><br /> <br /> <br /><br />robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0tag:blogger.com,1999:blog-6301538619639403161.post-11824082546649972012017-05-12T17:35:00.001-07:002017-05-12T17:41:23.420-07:00Some Thoughts About The Response to a Controversial Everyday Feminism ArticleA think-piece by the website, <i>Everyday Feminism</i>, has produced quite a bit of criticism on a variety of platforms, from Facebook to a variety of blogs. The criticism shouldn’t have been terribly surprising. After all, the blog managed to write an entire post about the proper way for employers to respond to food insecurity without suggesting the possibility of paying the person a living wage. In response to the criticism, the site has pulled the essay, and issued what can fairly be called a substantial apology. Within that context, I suspect that the whole issue is going to disappear relatively quickly, and will be overtaken by some other controversy. <br /><br />However, I thought it might make sense to return to the controversy from an analytical, rather than polemical framework, and attempt to read the posting as a symptom of the present moment. While there are some real reasons to criticize the website, and its approach to understanding social phenomenon, I want to avoid focusing on its particular foibles and think about the way that the response stands in for a wide swath of behaviors. In order to do that, I propose to look at the initial attempt an apology, instead of the original article or the more substantial apology that followed. <br /><br />The initial apology attempted to frame the problems of the essay as a failure of rhetorical context, simultaneously apologizing for the rhetorical failure, and attempting to defend the larger message of the think-piece.<br /> <br /> We've received a lot of pushback on this piece and we appreciate all of the critical perspectives you brought to the table. <br /> <br /> We agree with you that raising wages and pursuing economic justice is, first and foremost, what's needed to alleviate food insecurity.<br /> <br /> For the author (who commented numerous times here), sometimes our survival can't wait for raised wages, and in some places (like non-profits), wages can't be raised at all. Sometimes meeting people where they are, while also pursuing other avenues for justice, is what sustains us in the immediate moment.<br /> <br /> However, that nuance was lost, which is on us. Our editorial team is discussing the best way to move forward and we will keep you posted. <br /> <br /> Thank you for always pushing us to do better – we are the platform we are because of the amazing community that surrounds us.<br /> <br /> The message begins by acknowledging the need for economic justice, but then argues that the demand for higher wages is in some sense out of reach, either in the short term or completely out of reach, when referring to non-profit employment. It then tries to retrospectively reframe the article as one that operated under this assumption, one that took for granted both the need for higher wages, and the inaccessibility of those wages in the short term. They effectively accomplish this shift through the phrase, “that nuance was lost’ which then shifts the substantive argument to a rhetorical one. While I think there is a reason to be skeptical of this reformatting, I’m going to accept it for the sake of the more significant assumptions that are embedded in that argument. <br /><br />That more significant issue is the way a wage increase is framed as a political demand, one that is either a distant goal or completely inaccessible. Small, informal and interpersonal forms of activism are the only forms of change that are possible. We see a profound shift in the terrain of possibility. Practical political work is no longer incremental reform, but the act of scraping by to survive, or the facilitation of that contingent survival. The idea of a wage increase, previously a modest and incremental political goal, has become remote and almost utopian in nature. Lest we think that this shift is an exceptional one, we can look at the common-sense response on the part of many rank and file liberals to the Sanders campaign. The fairly modest suggestions of an expansion of Medicare and the subsidy of public education were derided as utopian delusions.<br /><br />There are a number of legitimate reasons to be skeptical of our ability to accomplish these modest, incremental goals at both the micro and macro levels. After all, we have seen the power of unions gutted, and the wholesale destruction and neutralization of any number of social movements. At the macro level, we can see a series of concentrated efforts to increase the political power of capital, and to neutralize the strength of poor people’s movements. But efforts such as the one under discussion never frame these limitations within the framework of political defeat. Such a framework is pessimistic, but it nonetheless understands the present moment as one that is constructed, for the lack of a better phrase, within the terrain of a wide swath of social struggles. It would provide an analysis that would mark the present moment as one that was constructed through a lens of contingent political struggle, and point to ways in which that present could transformed.<br /><br />Instead of this mode of analysis, we are offered an analysis that operates within the generic logic of ‘realism.’ This generic logic is signaled within the piece with the following language, “Sometimes meeting people where they are, while also pursuing other avenues for justice, is what sustains us in the immediate moment.” The ‘immediate moment’ is the moment of reality, while ‘the other avenues of justice’ are never given thought beyond the gesture. Through that process, the ‘immediate moment is reified and the social relations of the present are effectively naturalized. We might think of this as the moment where social movements embrace the logic embedded in Margaret Thatcher’s famous phrase, “There is no alternative.”<br /><br />The political theorist Jacques Ranciere provides a useful framework for understanding the framework operating within the aesthetics of this realism. He notes, “Realism claims to be that sane attitude of the mind that sticks to observable realities. It is in fact something quite different: it is the police logic of order, which asserts, in all circumstances, that it is only doing the only thing possible to do." (Ranciere 132) Realism is, in effect, the aesthetic logic of Thatcher’s phrase. It justifies the existing order by positing its existence as natural and inevitable. It effaces the possibility of transformation, and marks it off as impossible, as utopian. Through such an engagement, it becomes a form of enforcing that order, of operating within the logic of the police, as Ranciere and Foucault understand that term, as defenders of the hierarchical structures of a particular society. <br /><br />It’s perhaps unsurprising that we find the expression of this sort of logic even among those who are ostensibly trying to transform the world. After all, we operate within a world that is constructed through those modes of policing, in opposition to a long history of social movements. Those modes are articulated through a dense grid of institutions, social practices, and media representations that are enmeshed in our daily lives. It’s easy to understand why we might begin to naturalize these projects; after all, they all but constitute our grid of intelligibility. In many ways, it’s very difficult to imagine meaningfully transforming it. But that has been true of every dominant order. We have seen profound challenges to those previous orders that imagine profoundly different social structures, and have managed to change or destroy those previous systems, even if they frequently fail themselves. That engagement depends on a continual process of estrangement, a process of denaturalizing the categories of daily life, recognizing their historicity, their contradictions, and their possibility of change.<br /><br />What comes after that moment of tarrying with the negative? I’m not sure. <span style="font-family: "times new roman" , serif; font-size: 12.0pt;"> <span style="mso-spacerun: yes;"><br /></span></span>robert woodhttp://www.blogger.com/profile/14467035173491589640noreply@blogger.com0